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RM I was specifically referring to a very specific way of framing that disrupts the viewer's experience. For instance, imagine a close up of someone framed to the right and looking right and cut that image with another character framed on the left and looking left out of frame. I would call that disruptive. That kind of dynamic framing and cutting pattern is hard to pull off in an intimate scene whatever the format but, certainly more difficult in widescreen simply because the viewer's eyes are stretched from the extreme on one side to the extreme on the other.
Yes, on 'Rev. Road' we were deliberately using framing and focus to express the story in a visual way but we would have done that whatever the format. You do have a more dramatic frame to play with in 2:40 but that also means you need to be more careful, especially when shooting something that is more intimate, not to distract.
There are any number of widescreen films shot in a more formal and symmetrical style, such as 'Kundun' and others, such as 'The Lighthouse', which have quite formal compositions and use a squarer frame. When you compose by centering your subject in the frame the eye has far less distance to travel from cut to cut, whatever the format.Back to Team Deakins Podcast...