This article is NOT just to define mise en scene; we dig deeper to understand how mise en scene is used as a filmmaking technique that helps the filmmaker tell a visual story. We will also explain how mise en scene can have a motif in a movie and thus can be interpreted and analyzed to investigate the film’s theme and the symbolism of its use.
Mise en scene means everything that appears in the film frame.
It is a simple way to say setting, lighting, costume, makeup, and staging.
There is much more to mise en scene than most blog posts tell us.
This post will define mise en scene and its 24 elements.
Then, we will look at filmmaking techniques related to mise en scene. You will see how filmmakers use these elements to tell a better story more artistically.
So, without further introduction, let’s cover the basics before we dig deeper into the mise en scene as a filmmaking technique.
What is Mise en Scene?
Mise en scene is a French word that literally means putting into the scene. These are all the elements that appear on screen whether the filmmaker has control over them or not. So, clouds or street traffic in the background are also a part of the mise en scene, even if they were not created, planned, or deliberately put there by the director.
If you are unfamiliar with French, Mise en scene is pronounced meez-ahn-sen.
The term was initially used for directing plays. So, the elements of mise en scene overlap with theater.
Again, when we say mise en scene in theater, we talk about setting, lighting, costumes, makeup, and blocking.
Of course, there is more to that. It is everything in a scene. So we can add to these five elements:
Framing, music, special effects, animation…
These are the tools for film style and visual storytelling.
When studying a director’s style, consider how they use these elements.
Example:
Stanley Kubrick uses blocking to have symmetry in his shots. His movies’ settings, costumes, and makeup are usually wild and out of the world.
So, to analyze a movie or create one of your own, you must be familiar with all the elements of mise en scene. Below is the complete list of all the components of mise en scene, or as we like to call them, the ABC of filmmaking. Those are the tools that filmmakers use to create their movies.
24 Elements of Mise en Scene
1. Location
The film location is where the film crew records the film. So, it can be a “real” location of where the story takes place, a sound studio, or a built set. Location is one of the most essential tools for a director that can directly impact the story and budget simultaneously.
Some directors prefer to “film on location” (meaning that they record the scenes in the actual location) to add to the scene’s realism.
In other cases, a location must be dressed up to fit a specific period.
And, when filming a fantasy movie (for example), there is usually no way around using a sound studio and creating a new world from scratch.
Filming in a green room or chroma using computer-generated scenery (CGI) is also considered a location.
Set Design
The set design includes elements that visually build the world of the story. So, if the physical location was a city street, the set design would make it look like a city in the 50s. Here, we are talking about cars, buildings, and street lights… (what the actors are wearing plays a significant role in telling us more information about the world of the movie, but this is for another mise en scene element.)
3. Props
Props are the objects and elements of the setting that the actors use.
We usually refer to props in 4 categories:
- Hand props are objects that are handled or carried by an actor. Hand props include key chains, books, weapons, office material, and anything else an actor could or might pick up.
- Personal props are props worn or carried by an actor. It is essential to identify personal props for continuity reasons. In many cases, these props appear in multiple scenes and can be a part of the character’s wardrobe.
- Set props include mainly furniture. These objects add to the look of the setting and are things the character interacts with.
- Set dressing is set props, but actors usually don’t interact with them. Some set dressings are called practicals, like lamps or chandeliers.
- Trim props are set dressings hanging on the walls, such as pictures, window dressings, curtains, etc.
For example, let us consider a scene in a library: The books on the shelves are part of the set. But, the book that the character is holding is a prop.
It is essential to distinguish between set design and props because props can hold a meaning or a purpose to drive the narrative. This book plays a role in the story of the movie. Add to that continuity. It is important to know the props used in production because they might have to be present in later scenes. For example, if the character takes the book to the next scene, the prop must be available on set on the shooting day of the continuous scene.
Actors and Background Actors
Actors are the most significant “tool” for a director. Yes, I am using the word tool here because, in terms of mise-en-scene, actors are the means to deliver the message and story of the film. They are the tools that directors use to give life to the characters, express emotions, deliver the dialogues, and use the other elements of the mise-en-scene.
In the world of filmmaking, we differentiate between Actors and background actors.
Actors can have dialogue lines, character arcs, and names…; they impact the storyline in one way or another and are usually referred to in the script.
Background actors are people who don’t speak lines in the film. They may be present during a conversation between characters and add to the scene by laughing at a joke, reacting to an incident, or being present/moving in the background.
Background actors are critical to adding realism to the scene. They can save a scene if background actors are present or directed/blocked correctly.
Acting
When acting is considered, it is often discussed in terms of realism.
For example, the acting approach could be as near as possible to mimicking real life and real people’s reactions in respective situations (such as Brayan Cranston’s performance in Breaking Bad) or, although it might be considered rare, acting can be stylized to achieve a unique mood in the film or in the TV series such as the performance of Tom Hardy when on stage in Bronson or that of Gillian Anderson as the new god of media in the series American Gods.
Costumes
Costumes can be utilized in a film to achieve authenticity or create a stylistic mood.
For instance, the characters in Braveheart wore costumes that typify the Scottish warriors of the thirteenth century, which could be regarded as increasing the film’s authenticity by abiding by the costume stereotypes of its geographic and historical period.
On the other hand, Stanley Kubrick resorted to a more stylized look for the characters of A Clockwork Orange, who wore unconventional wardrobes and makeup.
Similar to the elements of the setting, costumes and makeup can also be a tool to deliver information about the story and characters by having a motif within the narrative. For instance, in Game of Thrones, when Sansa (played by Sophie Turner) is an innocent girl who promises to marry the king, she wears hair and a wardrobe similar to that of Cersei, the king’s mother. In later seasons, after the character survives captivity, she dyes her hair black. She wore a black costume, signifying a turn in the character’s personality and the motivation for revenge.
Similarly, in Scandal, a show about a Washington political fixer, the main character Olivia Pope (played by Kerry Washington) wore a white hat (this white hat is also usually present in the setting and often talked about) as a signification of being on the good side. In later seasons, when the character turned to murder and deception, she was assigned primarily black wardrobes.
Hair and Makeup
Hair and makeup are used to help the actor look like the character.
This can be for aesthetic reasons, to make actors look better, or plot/style driven. In period pieces, hair and makeup must be well-researched and applied to portray a faithful resemblance to the period. Or this tool can be used to establish a unique stylized look that the director wants to establish (for example, hair and makeup in Kubrick’s A Clockwork Orange)
Blocking
Staging the actors and cameras is another central element of mise-en-scéne that can help tell the movie’s story and build a style for the film.
Blocking aims to outline where actors move throughout a scene. And how they interact in the environment.
This term is used in film production to describe actors’ actions during a scene. It’s what we do with our bodies to create action and motivation within a scene while working with other actors or the environment to develop compelling, dramatic storytelling.
Blocking is used in drama and action scenes, where it is crucial to know what kind of physical movement will be employed. It helps the director visualize how different camera angles will look during filming – and how movements will affect other cameras and actors in the scene. Blocking can be done many times before filming a scene, depending on how complicated and lengthy it will take to complete the scene.
Lighting
A dominant lighting schema in classical Hollywood films was three-point lighting. Such lighting design is composed of a key light (illuminating the subject from the front), a fill light (compensating for the shadow from the key light), and a backlight (creating an outline for the subject).
The different variations of the three-point lighting are genre-defining. For example, high-key light, a lighting design that uses fill and backlights to reduce shadows, is predominantly used for comedies and drama.
Whereas low-key-light is used for mystery and horror films, and it defines the film noir genre due to the high contrast and harsh shadows produced by such lighting design
Composition
Composition is how visual elements are arranged within the frame of a film. The composition of the frame is a crucial element of visual storytelling. Directors use it to set the scene’s mood and to (visually) share ideas and narrative points. Another essential part of the composition is framing, a.k .a. how the director shows us the setup.
A famous example of masterful composition in film can be seen in Stanley Kubrick’s “The Shining,” where the use of symmetry in the framing of shots enhances the film’s atmosphere and tells us something about the characters’ dual personalities. Here, composition and framing served as a visual queue for the narrative and character while adding to the scene’s aesthetic!
Camera Angles
A film’s visual narrative is greatly influenced by its camera angles, which provide different points of view and emotional dimension to the tale being portrayed on screen. These angles are more than just artistic decisions; they are tightly integrated into the narrative, influencing how the audience interacts with the characters and the action as it unfolds.
- High Angle Shot: In this angle, the camera is positioned above the subject and looks down at the scene. It can give characters the impression that they are weak, insignificant, or helpless in their surroundings; this is frequently done to highlight the seriousness of a situation or to imply a sense of inferiority.
- Low Angle Shot: Conversely, filming a character or item from a low angle gives the subject an impression of importance, domination, or strength. It’s a common tactic used to accentuate a hero’s strengths or heighten the threat level of an enemy.
- Eye Level Shot: By filming from the subjects’ eye level, you can establish a neutral viewpoint and a clear line of communication between the viewer and the characters. This is the most popular shot because it naturally reflects how we see the world daily, facilitating viewers’ personal engagement with the story.
- Dutch Angle/Tilt: The Dutch angle creates a feeling of anxiety, tension, or disorientation by tilting the camera so that the horizon line is not parallel to the bottom of the screen. This method is frequently used in thriller and horror genres to visually convey a sense of unpredictability, disorientation, or an unbalanced universe.
- Over-the-shoulder shot: This viewpoint simulates being a part of the conversation by putting the viewer in a character’s personal space. It works exceptionally well in dialogue situations where the emotional exchange between characters is crucial since it helps the audience develop greater empathy and understanding.
- Point of View (POV): This shot allows viewers to experience the story directly from a character’s perspective by presenting a shot from that character’s point of view. This method can create empathy, give the viewer a sense of immersion in the action, or help them comprehend the character’s emotional condition on a deeper level.
- Bird’s Eye View: Gazing straight down from a high vantage point. This viewpoint presents an all-encompassing summary of the scene, furnishing background information and a feeling of proportion. It can establish a setting, highlight a character’s loneliness in their surroundings, or offer an omniscient viewpoint on the developing drama.
These perspectives are expertly used in movies like Alfred Hitchcock’s “Vertigo” to build suspense and psychological tension.
Using a range of camera angles can significantly impact the viewer’s experience, increasing the visual narrative’s dynamism, emotion, and engagement. The choice of camera angle, like all other mise en scène components, is not only a question of taste but also a conscious choice that enhances the overall effect and significance of the movie.
Proxemics
Within the context of the film, proxemics refers to the spatial relationships between characters within the mise en scène and how these distances might transmit nonverbal cues about their emotional states, relationships, and the overall theme of the movie. This part of cinematography is essential to visual storytelling because it enhances the plot without requiring direct language by gently conveying to the audience the invisible connections or tensions between people.
- Intimate Distance: Scenes that include characters near one another—often touching or just a few inches apart—suggest an intimate, vulnerable, or profoundly emotional bond between them. The viewer can be drawn into the characters’ private world by using this distance to represent affection, comfort, or shared secrecy.
- Personal Distance: When individuals are positioned around arm’s length apart, the movie may imply a cordial but non-intimate friendship. This distance, which denotes a degree of familiarity and trust without delving into intimacy, is typical among friends and acquaintances.
- Social Distance: A wider character separation, usually between four and twelve feet, denotes a formal or business relationship. Frequently employed in professional contexts or when characters are in more public or formal situations, this distance might suggest a sense of detachment, respect, or social hierarchy.
- Public Distance: The maximum spatial separation utilized in a movie, more than twelve feet, denotes a significant emotional or social divide or a lack of personal connection between people. One can use this distance to highlight a power disparity, alienation, or isolation. It graphically depicts potential emotional and psychological obstacles and societal or contextual standards that affect how the characters interact.
Proxemics is a technique filmmakers use to add layers of meaning to their stories and improve the audience’s comprehension of character dynamics. For example, a scenario in which two characters gradually get closer to one another could represent the evolution of their relationship from being strangers to intimate partners. On the other hand, a rising distance can indicate mounting conflict or emotional alienation.
For instance, Damien Chazelle, the filmmaker of “La La Land,” skillfully uses proxemics to depict the developing connection between Mia and Sebastian by mirroring their emotional journey through spatial interactions as a narrative device. We see the shift from their first interactions, characterized by circumspect personal distance, to intimate moments that represent their growing bond through a succession of expertly staged images. The film’s overarching themes of love, ambition, and pursuing ambitions are quietly conveyed through this visual development, highlighting the strengthening of their relationship. These frames demonstrate the power of proxemics in cinematic narrative by allowing viewers to enter the characters’ inner world and experience an immense yet profoundly personal relationship.
Camera choice
Beyond simple aesthetic preference, camera choice is crucial in filmmaking, significantly impacting mood, audience participation, and visual storytelling. Directors and cinematographers can create distinctive visual styles and narratives by experimenting with different types of cameras and lenses, which can significantly impact the film’s texture, depth, and perception. This choice considers several variables, such as the camera’s resolution, depth of field capabilities, and lens compatibility.
Contemporary filmmakers possess an extensive selection of cameras, ranging from expensive digital cinema cameras such as the ARRI Alexa and RED Monstro to more affordable DSLRs and mirrorless cameras, each with unique benefits and features. The remarkable dynamic range and color depth of the ARRI Alexa camera were employed to depict the film’s complex lighting circumstances and stunning natural vistas in movies such as “The Revenant” (2015). Meanwhile, the 2015 film “Tangerine” is renowned for being shot entirely on an iPhone, proving that a strong narrative and creative vision can make the most out of any camera choice and create an engaging visual experience.
Depth of field
One essential cinematographic technique that significantly impacts a film’s visual composition and storytelling is depth of field (DoF). It describes the portion of the scene that is crisp and in focus and the remainder that is blurry or soft. By drawing the viewer’s attention to particular characters or details and enhancing the sense of depth and realism in the scene, DoF can significantly change the audience’s focus and emotional connection with the scenario.
Depth of field gives directors a dynamic tool to direct the audience’s emotional journey through the visual texture of the picture, making it more than merely a technical option. DoF shapes how tales are visually communicated and experienced by the audience, adding to the cinematic experience by evoking feelings of intimacy, tension, or vast openness.
A shallow depth of field isolates the subject from the background and foreground, drawing the viewer’s attention directly to it. This technique is often used in intimate or pivotal character moments, allowing for a deep emotional connection by minimizing distractions and emphasizing the subject’s expressions or actions. The blurred background, known as bokeh, adds aesthetic beauty to the shot, enhancing the mood and tone of the scene.
Conversely, a deep depth of field keeps a larger portion of the scene in sharp focus, from the foreground through to the background. This approach is invaluable for establishing shots that set the scene’s context or in sequences requiring a clear depiction of the characters’ environment and their interaction within it. It provides a comprehensive view of the setting, enabling the audience to fully immerse themselves in the film’s world.
Depth of field is not just a technical decision but a narrative one, offering filmmakers a dynamic tool to guide the audience’s emotional journey through the visual texture of the film. Whether creating a sense of intimacy, tension, or expansive openness, DoF plays a fundamental role in the cinematic experience, shaping how stories are visually communicated and felt by the audience.
Aspect ratio
The proportionate relationship between a film’s width and height, or aspect ratio, is a fundamental visual component that impacts the scene’s atmosphere, storytelling, and viewer perception.
Classic Ratios:
The classic 4:3 aspect ratio sometimes referred to as 1.33:1, is reminiscent of the early days of cinema and television and provides a nearly square frame that might elicit feelings of nostalgia or timeless appeal. In movies like “The Lighthouse” (2019), this ratio enhances the tense, psychological drama in a distant lighthouse by creating a claustrophobic atmosphere.
Widescreen Ratios:
Widescreen ratios, such as 16:9 (1.78:1) and the industry-standard 2.35:1, offer a more expansive perspective that can immerse viewers in expansive vistas or minute details inside a scene. These ratios are frequently employed to highlight the majesty of the setting or the story’s scope in epic movies and large-scale novels.
IMAX and Ultra Panavision:
Special formats like IMAX (1.43:1) and Ultra Panavision 70 (2.76:1) offer unique visual experiences. IMAX’s taller frame is ideal for showcasing vertical elements and creating an immersive experience, as seen in select sequences of “Interstellar” (2014), where the vastness of space and towering wave planets are dramatically presented. Ultra Panavision 70, used in “The Hateful Eight” (2015), offers a vast field of view, perfect for capturing the film’s vast, snowy landscapes and the claustrophobic interiors of Minnie’s Haberdashery.
Variable Aspect Ratios:
Certain movies use aspect ratios to represent various eras, realities, or story points. “The Grand Budapest Hotel” (2014) deftly employs three distinct aspect ratios to differentiate between its three timeframes, providing the audience with visual signals corresponding with the eras it depicts as it leads them through its multilayered narrative.
Directors and cinematographers can employ aspect ratio as a narrative tool to influence the visual aesthetic and storytelling of the movie, making for a more exciting and immersive cinematic experience.
Frame Rate
Frame rate, expressed in frames per second (fps), greatly impacts how movies and videos look and feel visually. Most films have a set frame rate of 24 frames per second, which strikes a compromise between realism and the cinematic aesthetic viewers have grown accustomed to seeing in traditional film.
Higher frame rates—48 or even 60 fps—offer smoother motion and are frequently employed in action scenes, video games, and contemporary motion pictures to improve clarity and lessen motion blur, particularly in rapid-motion situations. Higher frame rates, however, may disrupt the “dream-like” nature of conventional 24 frames per second films, giving rise to a hyper-realistic aesthetic that some viewers find less aesthetically acceptable for narrative filmmaking.
The 48 frames per second filming of Peter Jackson’s “The Hobbit” trilogy generated controversy because it provided a sharper, more detailed image that, although technically stunning, some felt was too sharp, upending the traditional cinematic experience. Because filmmakers deliberately choose frame rates to complement their work’s narrative and aesthetic goals, it is essential in defining a film’s tone and visual style.
🚨 Remember that film rate affects the style of the picture and how smooth or choppy motion appears on screen. Whether a shot was filmed at 24, 48, or 60 fps, the playback will still be at 24 frames/sec, which is the universal playback speed of cinema.
In the next section, we will talk about playback speed that will affect the speed of the motion seen on the screen. These 2 concepts need to be clarified.
Playback Speed
The playback speed is determined by the frame rate at which a film or video is displayed. It significantly impacts how motion is perceived and how an emotional scenario is conveyed. A practice that dates back to the early days of sound film, 24 frames per second (fps) is the typical playing speed in cinemas.
34 Fps matches the natural motion of the picture while giving it a cinematic feel that appeals to viewers’ instincts. Beyond being a mechanical necessity, the choice of playback speed is artistic and can significantly impact a film’s story and atmosphere. By extending time to immerse the audience in action, slow motion, for example, might highlight a moment’s emotional impact or intricacy by playing back high-frame-rate footage at 24 frames per second.
On the other hand, time-lapse sequences, which replay frames recorded at a pace far slower than 24 frames per second, accelerate motion and provide a distinctive viewpoint on events transpiring over an extended duration. Filmmakers can investigate temporal dimensions in storytelling with these playback speed adjustments, which improve the visual narrative and effectively and dynamically engage the audience’s senses.
Film Stock
The selection of film stock—digital or film—significantly impacts the look and feel of a movie. Film stock must be included in this guide, even though most of the work that has been done recently and that you would perform will be filmed digitally.
Digital cameras produce sharp, clear images and have the advantages of ease of use, instantaneous feedback, and excellent performance in low light.
On the other hand, film stock is treasured for its distinct warmth, texture, and visual depth—aspects that appeal to audiences and filmmakers due to their distinctly cinematic feel. In addition, using film can give an image a naturally occurring graininess that enhances its visual texture. This is particularly evident in black-and-white films, where the grain adds to the timeless, classic appearance of the film. When combined with the subtle tones of black-and-white cinema, this distinctive grain can evoke nostalgia and a richer sensory experience while adding emotional weight and authenticity.
Ultimately, the decision between digital and film stock shapes how tales are perceived and remembered while also impacting the technical aspects of production.
Color
Color in mise en scène is a filmmaker’s quiet but powerful storytelling tool.
Colors are felt as well as seen. They can influence feelings and create moods, bringing the viewer through the emotional terrain of the narrative. Depending on the situation, a green color may convey feelings of jealousy or rebirth, whereas a grey background may express feelings of hopelessness or sorrow. Like painters, filmmakers carefully choose the colors to use in their palettes to enhance the story and establish an intuitive connection with the audience.
Color is a storytelling technique in filmmaking rather than just a visual decision. The colors and patterns on the screen draw viewers into the story and let them experience its pulse. So experiment with color, and let them be the quiet voice that adds much depth to your cinematic works.
Special Effects
Because they influence the story’s setting, ambiance, and even character appearances, special effects are regarded as a component of the mise en scène.
Special effects are essential to the movie’s visual language rather than merely artistic flourishes or clever visual jokes. They interact with and complement other mise en scène components, helping to build an engaging, immersive world that serves the story and draws viewers in.
Sound
In the world of film, sound functions as an essential part of mise en scène, bringing richly to the mood and complexity of the story by skillfully combining diegetic and non-diegetic sounds.
Diegetic sounds come from the story’s setting and are heard by both the audience and the characters. This category includes ambient noises from the scene, such as footsteps, creaking doors, and conversation, which help to establish the audience’s sense of place in the movie and add to the environment’s genuineness.
In contrast, non-diegetic sounds outside the story universe are not heard by the characters but are essential to the audience’s emotional and mental involvement in the movie. These consist of the movie’s soundtrack, relevant music, and specific sound effects that are purposefully employed to highlight dramatic moments, build suspense, or draw attention to particular themes in the narrative.
Diegetic and non-diegetic sounds together create a dynamic auditory landscape that enhances the texture and emotional resonance of the story while balancing the visual components of mise en scène.
Sound design
Let’s explore the world of sound design, a feature in movies that is so powerful that it can take you right out of your seat and into the center of the action. Ensuring you can hear the performers and providing background noise are only two aspects of sound design. It’s a kind of art that subtly manipulates your feelings, creates a mood, and alters the whole experience of seeing it. Imagine it as the silent yet powerful ninja of the film industry.
For instance, remember “The Sixth Sense” and the eerie whispering there. These were expertly created sound design components that increased the suspense and mystery of the movie, not only to give you goosebumps. Or think about the famous “Star Wars” lightsaber hum—it’s not just an excellent sound, but it’s also come to represent the intensity and dynamism of the whole story. The worlds on screen feel as vivid and tangible as the ones outside the theater, thanks to these sounds, which do more than merely fill the stillness.
Together with other mise en scène components, sound design creates a seamless and engaging universe. A busy street scene’s background city buzz, a horror movie’s creaking door, or a slight change in the score to indicate a character’s revelation all give a scene credibility. This teamwork can be attributed to the richness and compelling nature of cinema.
Music
Music is not only a background component but also a profound story. It is expertly integrated into the mise en scène to heighten emotion, reveal subtext, and elevate the narrative. Like a movie’s heartbeat, it is frequently felt intensely even when it isn’t consciously acknowledged, leading viewers on an emotional trip that enhances the visual story being told on screen.
With its unique power to create an immersive experience that can make hearts swell, eyes cry, and spirits soar, music in movies can cross the gap between the audience and the screen. It can enhance the setting and mood created by the visual components of mise en scène, silently allude to thoughts that are not uttered, or reflect the inner conflicts of characters.
Editing
Editing is the rhythm department of the grand symphony of filmmaking; it is an invisible force that manipulates the narrative’s flow, tempo, and emotional impact. Editing is a sophisticated art form that orchestrates cinema’s visual and auditory elements, guiding the audience’s attention, creating tension, and weaving incongruous views into a coherent and captivating story. It is far more than just cutting and splicing film segments.
Think about the iconic “Rocky” montage scene. The editing skillfully combines several distinct, taxing training exercises in a few minutes with a compelling story of advancement, tenacity, and building momentum. The thrilling cross-cutting in “Inception” keeps viewers on the edge of their seats while adhering to clarity and narrative coherence while revealing several layers of action in various dream levels. These scenes show how editing plays with time and space to create viscerally compelling rhythms for the viewer.
Editing greatly influences the mise en scène, expertly combining various components into a cohesive whole, including lighting, set design, sound, and camera angles and motions. It dictates how long we focus on a character’s face, how fast we take in a scene, or how well a movie lets go of tension before releasing it. These changes can feel intuitive and natural because of well-executed editing, which improves the narrative without calling attention to itself.
THE MOTIF
Think of motifs as little clues or special symbols that pop up repeatedly in a movie. They’re like breadcrumbs leading us deeper into the story and what it’s all about. Take “Trainspotting” for example. The director, Danny Boyle, cleverly uses a red carpet scene to show us how the main character, Renton, feels when he’s under drugs. It’s not just about him lying on the carpet; it’s about showing us, through the setting and colors, what’s going on in his head and how heavy his drug use feels.
Wrapping up our dive into the big world of mise en scène, or the ABCs of making movies, it’s pretty clear how important it is for movie makers to get a good grip on all these cinematic tools. Whether it’s the light, the colors, the props actors hold, or those repeating motifs, every bit plays a part in telling the story. It’s like painting a picture that pulls you in, making you feel all sorts of things and think about what’s happening on a deeper level.
For filmmakers, being innovative with these tools means they can take us on a journey, making the movie stick with us way after we’ve left the theater. It’s all about turning a simple story into something we can see, feel, and remember, making it a real piece of art we will not forget quickly.
