A script might simply call for a character to move from one place to another, so how would a director photograph this movement to illustrate the psychological implications of a shot?

What will be an ideal response?

Answer: The ideal answer should include:
1. There are considerable psychological differences between lateral movements on the screen and depth movement. Generally speaking, if the character moves from right to left (or vice versa), he or she will seem determined and efficient, a person of action.
2. Unless the camera is at extreme long shot range, these movements are necessarily photographed in brief takes—shots lasting only a few seconds. Lateral movements tend to emphasize speed and efficiency, so they are often used in action movies.
3. On the other hand, when a character moves in or out of the depth of a scene, the effect is often one of slowness. Unless the camera is at close range or an extreme wide-angle lens is used, movements toward or away from the camera take longer to photograph than lateral movements.
4. Furthermore, when depth movement is photographed in an uninterrupted lengthy take, the audience tends to anticipate the conclusion of the movement, thus intensifying the sense of tedium while we wait for the character to arrive at his or her destination.
5. Most classical filmmakers would photograph the action in several different setups, thus compressing the time and space from the inception of the movement to its conclusion. Classical filmmakers also tend to stage movement diagonally, to create a more dynamic trajectory of motion.