I now have a greater appreciation of listening shots than before. When there is a reverse shot of an actor listening, something happens in the mind of the viewer. As the camera cuts away from the subject who is talking, the disembodied voice no longer has a face and a mouth we can connect. What we focus on now is completely on the reaction. I find myself focusing on the eyes of the listener, trying my hardest to interpret his or her thoughts as they listen. The audience will focus more on the listener’s face and not so much on the words that is spoken. The director can then use this to guide the audience’s attention to something. In the example of Strangers on a Train, in the reverse shot of Barbara listening, we see her looking downwards. This provides a natural cut to the closeup that follows. 

At the same time, to attract all the attention onto an actor’s face meant every expression will be examined closely. The scene of the woman taking a train ride required significant acting talent, not just because it was in one take, but also keep stay in character without any other sources for her to bounce off of. There are no other actors in the same space, nor any particular actions she had to perform to pass the time. To perform the roughly two-minute train ride without looking awkward is very difficult. 

This week, I’ve continued to read The Count of Monte Cristo and parts of the 1964 TV serial adaptation. The nature of TV resulted in cliffhangers at the end of each episode, which usually gets resolved immediately at the start of the next. The camera tends to be handheld when in a set environment. There is also a heavier emphasis on dialogue rather than action. Apart from this, the order of events has remained true to the source material.