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A video essay on the two possible ways directors have to block actors. Yes, there are only two types of blocking: either by placing the actors on the same line (2D directing) or by positioning them in layers (3D directing).
In the 1930s, 2D was the most common. You'd find most actors on the same horizontal line in what is called the clothesline, because it resembles a stretched cord on which garments hang (what's it called again?). Bidimensional blocking was, for better or worse, the norm.
2D directing gives all actors visual equality and is specially useful to show two characters talking, in the ubiquitous type of shot that's known as... the two shot.
Layered blocking (3D directing) was already common in the 1910s, but it was the films of William Wyler, Jean Renoir and John Ford in the 1930s that inspired directors to place actors in the foreground, middle ground and background all at once. Orson Welles's "Citizen Kane" is the most famous film that uses tridimensional directing.
Though not that tridimensional, the over-the-shoulder shot is the most common way to use layers. You find it everywhere.
3D is not necessarily better than 2D because it always depends on what the story requires and how creative is the director. Ernst Lubitsch, George Cukor and even Akira Kurosawa, for instance, made many amazing bidimensional shots. Don't forget that actors and cameras can move and rearrange the composition in any conceivable way, going from 2D to 3D or vice versa.
Copyright free photos from Unsplash.
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