Lee Marvin's character of Walker is a physical force as terrifying as Arnold Schwarzenegger's Terminator...and this is clearly displayed as he takes "The 160 Angriest Steps in Cinema History" to begin his revenge on those who wronged him. Watch and listen as his unbroken, unstoppable momentum drives the story forward...
FULL ARTICLE: vashivisuals.com/filmmaking-using-still-images/
By incorporating a vast amount of still images…a film editor can build the narrative and evoke emotions by juxtapositioning these images to tell the story. Just like editing moving images…the pace, choice of shot, and resonant emotional effect of still images are all critical to achieve success. Here are 3 amazing examples:
1. "LOOK AT LIFE" (1965) - George Lucas student film
2. "THE PARALLAX VIEW" (1974) - Brainwashing montage edited by John W. Wheeler
3. "MS MR - HURRICANE" (2012) - Music video remix by Chaîne de Pietonpassage
The Dolly Zoom is a camera shot made famous in Alfred Hitchcock's VERTIGO (1958). It was invented by cameraman Irmin Roberts to visually convey the feeling of agoraphobia by zooming in with the lens while simultaneously dollying backwards the entire camera...or vice versa.
When the Dolly Zoom shot is used in conjunction with an unsettling or emotional moment...the viewer is swept up in a visceral visual that represents the pain/confusion/anguish occurring in the story. Here are 23 classic film examples of this technique in chronological order. I've also included the shot before or after the Dolly Zoom so it can be seen in context of the scene...and not as just a trick shot.
In the final episode of BREAKING BAD...there are two shots in a pivotal scene that are perfect examples of how to use camera movement to amplify the narrative and surprise the audience. With one simple pan and one simple dolly...there is a set-up and shortly after, a dramatic pay-off. The scene at first appears to be just conveying information to the viewer. Then, with one pan and one dolly move...the scene is flipped on its head and is seen in a whole new light. This could only happen through writing, direction, set design and camera movement working in unison. A Steadicam or crane shot through a window could never have achieved the emotional impact of a simple pan and dolly.