While tyro filmmakers are encouraged to vary the camera angle a lot for various reasons, two of my favourite film directors who use film as an intelligent observer of the human condition, Yasujiro Ozu and Roy Andersson, both use the frame as a proscenium arch: the frame does not move, the action moves within the frame. This calls for astute directorial skills to ensure the viewer’s eye is continually guided to the most salient area within the frame appropriate to each moment of the telling of the story within that scene.
This is not to deny the work of great directors such as Alfred Hitchcock who use shifting camera angles to great effect (the shower scene in Psycho for instance).
I certainly do not have the skills of the two aforementioned master directors, but my project will follow their example in the avoidance of a shift in camera angle if the story can be told without the necessity of a shift.
Looking at my final storyboard, a possible area that may need a change of angle is a shift to a mid-shot to make clear the additions of the plate, fork and glass of wine before returning to the wide shot for the final moments.
A video compilation of some of Ozu’s work showing his framing within the frame.
The trailer for Andersson’s incisive film, You the Living