For week 11, although this is the last reflection in the course, the spirit of the investigating scene has deeply attracted my interest in the complexity of Decoupage throughout. When I was reading “Part 20- To study”, these texts helped me to re-think the question “what does the director do?”. In other words, how to successfully preside over the position of a director? Before I attended this course, I might just simply answer the person who just says “cut”. As a leader and a director at the same time, the job of difficulty is to interpret the dramatic script then visually represent by their expertise, and, more importantly, when the interpretation which has been done by the director, it requires the ability to translate the script to another competency, “direct/lead” the actors to commit the ideology of the director”- personally, I reckon this has involved in a part of the translational skill, “Decoupage”. “Does Decoupage exist? and “Why is Decoupage? “. As visual animals, humans can observe the most superficial changes, and, through decoupage (the director’s meticulous arrangement), the film finally presents like “a moving painting” in front of us. Actually, I reckon that no one can formally teach you how to utilise “Decoupage” but can inspire you to create your “Decoupage”. Your decisions of colour, camera angle, the movement of the camera…etc facilitate to the aesthetics of the scene.