I don't think anyone understands Akira Kurosawa better than Leone, and John Woo understands Leone far less than Leone.
Emotional opposition, dramatic conflict, scene frame, prop composition, soft tone, color, mid-tone, rising and falling shot, potential energy of long shot, precise grasp, use of kinetic energy, depth of field and convex writing, selective scheduling of characters The teamwork of a group of masters is so outstanding. The layering in the montage is too full, the ultimate body of three-dimensional emotional contrast.
The profiles of the characters, the groups of protruding characters, and several groups of crossovers are all carefully laid out and designed. The art traps make people walk in without knowing the size. It is necessary to hide them: metaphors under 35mm.
Close-up shallow depth of field 28s flashback long shot panorama large depth of field slow motion run from mid-ground to foreground green and peace tone cool color upgrade slow-shift zoom push over the shoulder camera view scheduling push hat swipe 180s cut to close-up shading emotional climax sound and picture synchronization 25s fade out flash Back to the end, cut to the close-up, Twitter, back-up, close-up, 3s, back-up, shake, fade out, 26s, close-up, and freeze frame
Two subjects flashback Three subjects are equal in height 1.5m Closed, centered, freehand, repeating montage, deepening impression, breaking through psychological impression, stylized character line of sight Light
Direct close-ups do not deliberately please the audience
Taking the camera to talk about digging your heart may be inappropriate but far-sighted.
You are the master, I do not argue.
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