(allen daviau) camera technique grew into a set of rules.ul but not so beautiful as to draw attention to itself. nor should the technique of camera movement nor cutting draw attention to itself. i remember a very sweet editor who did ann miller pictures at columbia when i was starting out. and he would bring me in and show me, "now you always start with a long shot. and then you work your way into the closer shots. and then over shoulder and then close-ups." in other words, you were taught a formal way. here's looking at you, kid. this polished surface became much more important, that the audience wasn't to notice cuts, the audience wasn't to notice camera movement. which was to the good in terms of non-interrupting the story. what i learned was to try to make editing seamless. you should never be aware of cuts. you want to feel as though that scene is taking place in front of your eyes as you speak, looking at a proscenium arch but you're much closer, you're much more involved. (david bordwell) so that in some sense the style is illusionist