Donnerwetter

Narrative Music
Narrative music is completely different. Narrative music is music which tells a story and acts like one of the actors in the scene. Narrative music can have themes which are very short melodies which are associated with an actor or an action.
Narrative music can only go in gaps between the dialog of the actors because it is too strong to be placed on top of dialog. That is why, if you want to add narrative music, you must go back to the rough edit and add the correct gaps between the dialog of the actors.

How long should the gap be? How long should the narrative music be? You must make the music, and then create the gap to fit the music. The only way that you will know the correct length of the gap is if you work closely with the composer during the editing of the scene... or if you are the composer!!!! This is why the best film editors also are great film composers (or at least understand film score composing). It is really not that hard so try! (It takes a lot of time though. But it will make your edits better.

Saint-Jean-du-Gard

In filmmaking, the 180° rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters and by keeping the camera on one side of this axis for every shot in the scene, the first character will always be frame right of the second character, who is then always frame left of the first. If the camera passes over the axis, it is called crossing the line or jumping the line.

Arena of Nimes

The Arena of Nîmes is a Roman amphitheater found in the French city of Nîmes. Built around 70 AD, it was remodeled in 1863 to serve as a bullring. The building encloses an elliptical central space 133 m long by 101 m wide. It is ringed by 34 rows of seats supported by a vaulted construction. It has a capacity of 16,300 spectators.

As the Empire fell, the amphitheater was fortified by the Visigoths and surrounded by a wall. During the turbulent years that followed the collapse of Visigoth power in Hispania and Septimania, not to mention the Muslim invasion and subsequent conquest by the French kings in the mid eighth century, the viscounts of Nîmes constructed a fortified palace within the amphitheater. Seven hundred people lived within the amphitheater during the apex of its service as an enclosed community. The buildings remained in the amphitheatre until the eighteenth century, when the decision was made to convert the amphitheatre into its present form.

Morbid

An anatomical theatre was usually a room of roughly amphitheatrical shape, in the centre of which would stand the table on which the dissections of human or animal bodies took place. Around this table were several circular, elliptic or octagonal tiers with railings, where students or other observers could stand and get a good view of the dissection almost from above and unencumbered by the spectators in the rows in front.
The first anatomical theatre was built at the University of Padua in 1594 and is still preserved. Other early examples include the Theatrum Anatomicum of Leiden University, built in 1596 and the Anatomical Theatre of the Archiginnasio in Bologna The anatomical theatre completed in 1663 by medical professor and amateur architect Olaus Rudbeck for the University of Uppsala is located in the idiosyncratic cupola which Rudbeck placed on top of the Gustavianum building, at the time the main building of the university.

Common wisdom in filmmaking dictates that if we leave terrifying ideas up to the audience’s imagination, they can fill in the gaps and have an even more thrilling experience than if given all pieces of the puzzle at once. This philosophy dictated Hitchcock’s style, and worked to great effect in films like Spielberg’s Jaws where the antagonist is rarely even seen.