Camera setup #10. Jumping the axis.

In this shot we will render Counterman "scolding," "refusing," and finally "protecting." He will lunge forward in the frame and grab the pie (Figure 8-16).

As Counterman starts backward with the pie, we will jump the axis by cutting on the move to camera setup #10.

Camera Setup #10: CLOSE SHOT on COUNTERMAN & PIE

On the cut from camera setup #8 (see Figure 8-16), Counterman will move backward into the frame, holding the apple pie, looking camera right (Figure 8-17) when a second ago he was looking camera left. For this to work, the shot must be "tight" on his head. But we also need to show the pie in order to show "to protect." Aside from doing our dramatic jobs, the composition stresses the incongruity of the behavior, and hence the comic.

Camera Setup #9 (Reverse of #8): MEDIUM CLOSE on CUSTOMER & GUN

Camera Setup #11 (Reverse of #10): CLOSE SHOT on CUSTOMER & GUN

I am relying on only camera setups #10 (Figure 8-19) and #11 (Figure 8-20) to elaborate the "face-off" between the two men. Others may see it differently. I did

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