Shooting a dialogue scene can be a challenging task. You need to make the text enjoyable even if it’s not. There are several techniques to use that will make that happen, and I will explain them here.
Before planning a dialogue scene, you need to understand the subtext of the movie scene. A Subtext is a content that is not said directly by the characters, but it exists in the observer’s perception of the scene. Sometimes it’s in the observer’s subconscious, and he even not aware of that. The subtext of the scene should be drowned from the film’s premise.
All the great dialogue scenes show that, but here is a great example of a subtext in a scene. Look at the funny trick Woody Allen uses to show us what the characters are really thinking
When shooting a dialogue scene, you should plan the shooting script to express the subtext of the scene and its dialogue. Read my post on types of camera shots to understand the psychology behind each shot.
The ideal way to shoot a dialogue scene is to start with an establishing shot, to let the audience know where the characters are placed. Then you’ll need to break the movie scene into the shots you think are right for the scene. A trendy shot on dialogue scenes is Over The Shoulder because it shows us the character that talks and the reactions of the characters that are listening. When shooting Over The Shoulder shots you might want to use the Depth of Feild technique. You want the focus to be on the talking character, so the shoulder of the character that listens should be a bit blur and to take only one-third of the frame.
Think about the inter-cuts you want to add to the scene, if you want to give the editor maximum flexibility to work with. The inter-cuts can be Close-ups on the listening characters, their hands (if they’re doing something that is important to the scene), their eyes, objects on the set & etc. Of course, when using intercuts you should think how are they contribute to the scene and its subtext.
The master scene technique is a method used by lots of directors. What you do is shooting the whole scene in wide-angle from the start to the end, and then you start shooting all the inter-cuts. This way, if one of the cuts you shot didn’t go well, you can always come back to the master shot. I recommend reading my post on The master scene method to learn how to do it well.
You should also think about the editing of the scene. If it’s quick-paced editing, then the shooting script should take it under consideration. If needed, consult with your video editor to understand what he needs to get the kind of editing you are planning for the scene.
The lenses you’ll choose for the scene will affect the emotion the audience gets from the scenes. There are many types of lenses, and you need to consult with your cinematographer what he prefers. Many like to use the Zoom lenses because you can play with their focal lengths in different ways. They are great for documentary films and action scenes. Cannon has some pretty good zoom lenses. The most popular lenses to shoot with are the prime lenses. They are very affordable compared to others and very sharp. They are also useful to shoot in low light locations. I like to use the Rokinon Cine Lenses, but there are many others.
The planning of the shooting should also consider the length of the scene, and the atmosphere. For example, if we are shooting a long dialogue scene, we’ll want to move the camera during the dialogue. Moving the camera can be done handheld or with a steady cam or even with a dolly. Another way is to shoot it all in one take without any camera movement. That’s a less exciting way to shoot, but sometimes it will fit better to the atmosphere of your scene.
Blocking is planning where the actors are going to be in the scene and their movements inside. When blocking a dialogue scene, you first need to understand the subtext of the dialogue. For example, if the character’s lines mean they are getting closer to each other, they can show it by walking towards each other. If one character fears the other, it can walk away. Making your characters stand and not move at all, can also have subtext meanings in it. When you plan the blocking, you should use the mindset of a choreographer. Think about all the elements in the scene and how you can use them to express the subtext of the dialogue.