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But in a movie, every shot is preceded or followed by another shot. That’s why the juxtaposition of shots is such a great tool. In the agonizing, soul-baring fights in Long Day’s Journey Into Night, the shots kept getting wider and wider as father and son found themselves telling each other the cru…

This opens up an important area. When the actor is being photographed looking at someone off-camera, he can obviously see past him to the whole darkened studio. We call this the actor’s “eyeline.” It can involve both sides of the camera. Just before we roll, any well-trained AD will always say, “Cl…

The overriding consideration for me, as is apparent in all these examples, is that the techniques come from the material. They should change as the material changes. Sometimes it’s important not to do anything with the camera, to just shoot it “straight.” And equally important for me is that all th…

12 Angry Men, Boris Kaufman, photographer. It never occurred to me that shooting an entire picture in one room was a problem. In fact, I felt I could turn it into an advantage. One of the most important dramatic elements for me was the sense of entrapment those men must have felt in that room. Imme…

The actors are also learning about each other. They are revealing themselves to each other, sharing, in greater and greater amounts, their personal feelings. Henry Fonda told me that on the first day of shooting a Sergio Leone movie, he had to shoot a sexy love scene with Gina Lollobrigida. No rehe…