A couple of years ago in Vancouver, Canada, I was working with Mathias Magnason, an award-winning Swedish director and filmmaker based in New York. He was interviewing a luxury show’s lead designer at one of his projects, a home under construction. Magnason told the cameraman to set up the shot. The cameraman did so, and then walked off to plan the next shot.
Magnason reviewed the frame, and as politely as possible tried to hide his grimace. I asked him what was wrong.
