Find out why things go where they go.

Find out why particular scenes in a particular film sequence are edited together or in the fashion they are or in the time that they are and the way that the cuts work.

What you’re really doing in this situation is you’re working on your craft.

You’re looking at something that you really admire and you’re trying to get into the seethe of the person who built this thing to begin with; to get into their head to see why they made the pratical decisions that they made in creating this, whether it’s a logo or a Web page or anything else.

The final twist. The approach of ‘sending a person in one way then pulling the rug from under them’ is a perfect, popular technique in TV commercials. In fact, it’ a tried and tested method.

The ‘one frame’ goal is another form of reductionism. By definition, the simplest ad needs only one cut, or camera set-up (not including the end frame).

This is not a rule you need to place on every script you write, but it is a useful tool because it forces you to keep it simple.

Aim for as close to one frame (two or three is good, too), or at least be in a position to capture the basic idea in a single frame, as if it were a poster, even if the final ad uses more frames to improve the story telling.

When you create any idea for (video), ask yourself honestly: will this stand up to repeat viewing? Avoid anything that might quickly annoy and irritate (either the entire concept, or part of the idea such as dialogue or sound effects).