Came across this gem from Chief Culture Officer, one of my favorite reads in a while. Grant talks about the iconic show NYPD Blue, and its 'amphetamine photography' visual style, pioneered by Leslie Dektor.
I especially like Dektor's idea that the camera should come to each scene "a moment too late." Surely, this was a camera incapable of bullying or inquisition. A late camera comes to the scene breathless, eager, as if to say, "wha'd I miss?" This camera is not the boss of anyone. It's ingenuous, alert, ready for anything. Dektor gives the camera back its liberty, the better to get accident, spontaneity and the ordinary back into the scene. I asked Dektor why the camera rocked in place.
"I would let the camera vibrate because I wanted to be prepared to make the next move. It's poised for movement. I wanted the frame to be rubbery to prepare myself for the next move. You never wanted it to go rock solid. You wanted to keep the softness, the vibration."
Replace 'camera' with 'idea', and maybe there's a lesson here.
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