Yasujiro Ozu represents the opposite approach. His camera barely moves. His films are about ordinary family life — meals, conversations, the slow dissolution of traditional values. His signature shot is the tatami-level camera, positioned at the height of someone sitting on the floor.

Ozu's technique of inserting empty frames between scenes — a vase, a hallway, an open field — creates a contemplative rhythm that Western cinema rarely achieves. These "pillow shots" give the audience space to process emotion rather than rushing to the next event. They are the visual equivalent of a pause in conversation.