Your Film is Only as Good as Your Blocking
(A Director’s Breakdown Inspired by David Fincher’s "Gone Girl")
When people think of great directing, they usually jump to performances, cinematography, or the script. But one of the most overlooked tools a director has is blocking—and it can be the difference between a flat scene and a truly cinematic one.
Great blocking doesn’t draw attention to itself. It serves the story, the emotion, and the power dynamics in the room. And no one does that better than David Fincher.
Let’s break down what blocking really is, why it matters, and how Gone Girl is a masterclass in using it to shape tension and control.
What Is Blocking Really?
Blocking is the choreography of movement within your frame. It’s how actors move, where they’re placed, how the camera moves with them—or doesn’t.
It’s the invisible rhythm of a scene. You don’t always notice it, but you feel it.
Bad blocking can make your scene feel like a rehearsal. Great blocking makes it feel like you’re watching real people in real conflict.
Why Blocking Matters (More Than You Think)
Here’s what blocking can do when used well:
Reveal power shifts without a single line of dialogue.
Control tension by deciding when and how characters move.
Create depth and visual interest, especially in emotionally static scenes.
Guide the viewer’s eye to what matters in the frame.
Think about it like this: Your camera might be beautiful, your lighting might be perfect, but if your actors are just standing there… your scene’s dead.
Fincher’s Blocking in Gone Girl
Let’s look at one of the best examples of blocking done right: the confrontational scenes between Nick (Ben Affleck) and Amy (Rosamund Pike) in Gone Girl.
In these moments, Fincher doesn’t move the camera unless he needs to. The tension builds from how the characters are positioned and how their energy fills the frame.
In the infamous “Cool Girl” monologue:
Amy is center-framed, composed, and still—she owns the moment.
Nick is often off-center, visually trapped, or at a physical disadvantage.
The camera is static, letting the blocking do the heavy lifting.
No shouting. No chaos. Just calculated control. And that’s scarier than any outburst.
Blocking Techniques You Can Use
You don’t need a Fincher-level budget to block a scene like a pro. Here are a few techniques that work on any scale:
1. Use Movement with Purpose
Actors shouldn’t move unless they have a reason. Movement should come from character intention, not choreography.
2. Build Depth
Place actors at different depths in the frame—foreground, midground, background. It creates a more dynamic image and helps establish relationships.
3. Let Stillness Build Tension
Sometimes, the most powerful blocking choice is no movement at all. Stillness forces the viewer to lean in.
4. Consider Power and Control
Who’s physically higher in the frame? Who’s centered? Who’s closer to the camera? These decisions say more than dialogue ever could.
Blocking Mistakes That Kill a Scene
Let’s call out the usual suspects:
❌ Unmotivated Movement
Actors walking around just to "do something." If it’s not driven by the story, it’s a distraction.
❌ Flat Compositions
Everyone lined up shoulder-to-shoulder, facing the camera? Your scene just turned into a stage play.
❌ Ignoring Subtext
Blocking should reflect the unspoken tension. If your actors are saying one thing and their bodies say nothing, you’re missing a layer.
Final Thoughts
Blocking isn’t about just filling space. It’s about controlling energy, focus, and emotion without ever saying a word.
David Fincher’s Gone Girl is a masterclass in this. The tension lives in every still frame. The conflict doesn’t explode; it simmers under perfectly composed shots.
So the next time you’re setting up a scene, ask yourself:
“What is this shot really saying… without any words?”
That’s where your directing lives.
Brandon Champ Robinson mans the camera on set.
Let’s Work Together
My name is Brandon Champ Robinson and If you're a brand, production company, or fellow filmmaker looking to bring intentional, story-driven direction to your next project, let’s talk!
Whether you need a director who understands performance and blocking on a deeper level, or you want to collaborate on something bold and cinematic, I bring clarity, purpose, and experience to every frame.