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Hello Mr Deakins,
I recently watched the 1976 I, Claudius show for the first time and was enamored with the blocking. In I, Claudius, the blocking did an excellent job of accentuating the subtleties of the acting within very contained spaces.
It got me curious about the process of blocking in 1917. Disregarding the more grand moments in the film, such as when the troops charge the German trench, how did you go about blocking the quiet moments, and why have so many modern films moved away from such dramatic camera moves?
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