I found this last night. I made a whole post about it, but when I re-read it this morning, I'd clearly had too much wine. It's about movie directing (and Spielberg), but in terms of compositional genius, I was a bit blown away. I found quite a lot of synergy to photography, even though it's ostensibly a video about movie directing.
View: https://youtu.be/ItbCLh4Auoo?si=psgjIO64plXgVxCo
I hadn't come across the term staging and blocking before, but I've done a few courses on making films, and it's been mentioned a few times about how still photographers coming to movies often bring a sense of composition (which is what Staging seems to be) with them, but usually need to work hard at the storytelling part.
My favourite books on composition for stills photographs (apart from some more theoretical ones on dynamic symmetry and the harmonic armature) are designed for animation and film making.
The four I own are (f anyone is interested) are:
"Sketchbook: Composition Studies for Film" by Hans B Bacher. (2015)
"Color and Composition for Film" by Hans B Bacher (2015)
'Framed Ink: Drawing and Composition for Visual Storytellers" by Marco Mateu-Mestre (2010)
"Framed Ink 2: Frame Format, Energy, and Composition for Visual Storytellers" by Marco Mateu-Mestre (2020)
All four are mainly pictures and are illustrated with storyboard type illustrations showing how composition. colour, lighting, juxtaposition of images, as well as juxtaposition of subjects ec in the images can convey mood and and convey a message that contributes to the story. As all the illustrations are of individual drawings, it's easy to translate what is being said into stills photography.
Every so often, I will take one of these books off the shelf and just browse through the pictures and skim the text. Hoping to almost subliminally learn something
The other book that seems to get universal praise for understanding composition, which is not aimed at film making, but still feels appropriate to mention, is "Picture This: How Pictures Work by Molly Bang (2000).
Although the first four books also cover this (but in. a different way) , one of the key aspects of Bang's book is about learning that composition isn't really about where you put the subject, but about how the visual weight of different colours, tones, textures, shapes and sizes of the picture components interact..