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Although I agree the camera should not move without motivation I approach movement in a unique way. I believe that every shot should have one or more of the following types of movement.

1. movement of the subject within the frame
2. movement of the frame (camera)
3. emotional movement of the frame (this is an important reason to hold a frame around a still subject)

The top three types of movement are the basics for me. Although I have seen many beautiful films whose story requires a slower pace along with its shots movement. Let's not place theory above story even if we don't understand why a particular style is working. There is much to us beyond logic and consciousness.

4. movement of the viewer's eye within the frame (sometimes the viewer just needs time to see all the detail)
5. movement of the foreground/background within the frame (sometimes the subject and camera are locked off on a moving platform such as a car or train)

The benefit of this approach is that we not only choose when to move the camera but also choose when to keep the camera still.

There is another consideration. How does each shot's energy fit within the scene or story? For instance, a single locked off shot within a chaotic action scene could give the viewer a quick break. But, it may also take away from an emotional still shot at the end of the scene. Contrasting movement is a powerful tool that we should wield intentionally.

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