You remember you told me how much you liked the line breaks in my translations of Malaparte? The decision where to cut film is very similar to the decision, in writing poetry, of where to end each line. On which word? That end point has little if anything to do with the grammar of the sentence. It's just that the line is full and ripe at that point, full of meaning and ripe with rhythm. By ending it where he does, the poet exposes that last word to the blankness of the page, which is a way of emphasizing the word. If he adds two words after it, he immerses that word within the line, and it has less visibility, less significance. We do very much the same in film: the end of a shot gives the image of that last frame an added significance, which we exploit.