Sergio I logged in just to say “Bravo!” To you for saying it! I was thinking the same exact thing about Benjamin. Superhero films are not “art” they are “propaganda” made by the “culture industry” for our competition- and consumer-based culture. Also, as Geuens describes in “Film Production Theory”: The new film companies use synergy between broadcast, newspapers, websites, print, advertising, and merchandising to maximize profits. Movies are products that are also billboards for other products. What Scorsese laments is that emphasis is taken away from diagesis (story) and has been replaced by physical stimuli created by motion on the screen - the visceral reaction, or stimulation as the photons rapidly hit our eyes: “Whereas the first response benefits from careful character conditioning and narrative buildup, and is thus dependent on the craft of the filmmakers, the payoff of the second is fully automatic in nature: one has no choice but to react.” It’s entirely physical, a sensation, and doesn’t engage the mind. It’s a “hijacking of the eyes” Geuens even mentions how Scorsese uses this in Goodfellas: “Scorsese keeps the juices flowing by forcing the camera to fly through space, surging forward toward a pot of pasta or rushing to the protagonists car without conventional cut or motivation.” This is fine when used well like this to support the story but to elevate the camera moves and visuals above the story like they do with superhero movies is his problem with it. “Aesthetic distance has been eliminated. For directors, this means being in charge of a rollercoaster, and their talent is now being gauged in terms of their ability to produce as many thrills as possible.” Story exists to support the thrills, not the other way around.

So to "break" pretty basic rules just use other pretty basic rules. Title is clickbait.

This sounds like a great deal. Adobe Premiere Pro made it much easier to shoot in 2.5k because they now have an integrated proxy workflow. I own this camera and Shane Hurlbut also says that this is THE camera to have if you are a budding cinematographer.

Typically you will have a wide master shot, or two. Get some groupings. And then shoot your singles from somewhere in the middle of the table or group of characters and/or get some over-the-shoulder shots.

Because of the script, you'll know ahead of time who is speaking to whom and when, so you can plan out your pivot shots, or just shoot for coverage. It's up to you. Planning could cut down on setups.

To plan this: draw an overhead diagram of the scene with every line of action possible between all of the speaking characters. Then note who talks to who and when. Then 'activate' each line for the dialogue and make decisions on setups. Use groupings to keep the audience oriented spatially and cut to a wide if it get's too confusing.

In the end, the 180 "rule" is only there to prevent you from accidentally spatially disorienting the audience. Line crossing isn't wrong, you just want to be aware of the consequences of doing so. If your audience won't be disoriented or you WANT them to be (more or less) disoriented then please for heaven's sake feel free to break the 180 "rule". Sometimes, such as in the "Little Miss Sunshine" example someone else mentioned, it can make a simple conversation more visually/mentally interesting to frame characters with their 'space' cut off, or by jumping the line, especially if the conversation is tense, you can create tension with it.

I hope this helps! :-)