![]() The term usually refers to sources of light that are already "available" naturally (e.g. ![]() Any source of light that is not explicitly supplied by the cinematographer. aerial perspective aerial shot alternate ending ambient lightĪlso called available light. the reimagining or rewriting of an originally non-film work with the specific intention of presenting it in the form of a film. adaptation The transfer of a creative work or story, fiction or nonfiction, whole or in part, to a motion picture format i.e. Any person, male or female, who portrays a character in a performance. action axis actorĪ female actor is called an actress. accelerated montage accent light acousmatic Sound that is heard without an originating cause being seen. These roles include but are not limited to the screenwriter, producer, director, and actors. ![]() above-the-line The list of individuals who guide and influence the creative direction, process, and voice of a given narrative in a film and related expenditures. Named after assistant director, Abner E "Abby" Singer, who called out the shot to give the crew extra time to prepare for a company move or wrap. Ī A roll Abby "The Abby" is the second-to-last shot. A type of motion picture that utilizes special filming techniques to create the illusion of depth perception, hence adding a third dimension. 3D filmĪlso called a three-dimensional film, three-dimensional stereoscopic film, or S3D film. If the camera moves less than 30 degrees, the transition between shots may look like a jump cut, which could jar the audience and take them out of the story by causing them to focus on the film technique rather than the narrative itself. 30-degree rule A basic film editing guideline that states the camera should move at least 30 degrees relative to the subject between successive shots of the same subject. Moving the camera over the axis is called jumping the line or crossing the line breaking the 180-degree rule by shooting on all sides is known as shooting in the round. By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character. And Harbour gets big laughs with his nervous, cheating family man (the biggest laugh in the film comes when Harbour straddles his boss, raises his fist, and shakily says, "I'm going to punch you now, sir!").0–9 180-degree rule A basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. Cheadle and del Toro are particularly delightful as two characters who don't trust each other but have to work together anyway. The characters may be in danger, but we're not, and like Soderbergh's Ocean's films, the real fun of this film is just watching great actors hang out and bounce off each other. All of these characters eventually come together in some way, with Ed Solomon's crackling script subtly weaving threads together until they form a bigger picture.ĭespite occasional bursts of violence and threats of death, No Sudden Move is surprisingly carefree. There's an all-powerful gangster ( Bill Duke) who has bad blood with Curt. There's shouty criminal Frank Capelli ( Ray Liotta) and his wife ( Uncut Gems breakout Julia Fox, who seems very out of place in this film), with whom Ronald is having an affair. There's a lawman investigating organized crime ( Jon Hamm). Meanwhile, Soderbergh meticulously sets a series of characters in motion as if he were setting up a chessboard. And back at the house, someone ends up dead. Matt is having an affair with his boss's secretary. It's hard to say.Įverything that could go wrong does. Ronald in particular is standoffish to Curt at first glance, perhaps because Curt's Black, or perhaps because Ronald doesn't trust anyone. ![]() The two guys Curt joins up with – the constantly-drinking Ronald ( Benicio del Toro) and the slick Charley ( Kieran Culkin) – don't seem to trust their new partner.
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