Performance first but, while shooting, there are additional shots you can do to get yourself out of a continuity problem. Shoot singles of your actors if possible, where it's just them and no other actor in frame. This is also where shooting higher resolution than delivery is useful. If shooting 4k for 2k, you can always punch in up to 2x, sometimes even 2.5x for a single of your actor. Cutaways. Can be anything. A close up of a cup. A dog in the corner. A doorknob. These shots can also help if you are cutting down a scene, trimming out dialogue or rewriting it in the edit.
It was always clear to me that the birds were a manifestation of the mother's possessive rage against the woman (Tippi) romancing her son, whom she idealized and possibly had sexual feelings for.
I agree. Learn how to compose a shot first. Learn where to place the camera, what to keep in frame, how things are staged in relation to each other, and how it fits in with the rest of the shots in your sequence. Then worry about whether or not it needs movement. Sometimes it will. Sometimes not. But make sure what's happening in front of the lens is interesting in and of itself first.
That's a shame, because my best IMAX experience ever was the conversion of Apollo 13. Apollo 13 was shot Super35 full frame, and cropped to 2.35 with a matte. For the IMAX, they just removed the matte so the 1.33 film filled the entire IMAX screen. It was glorious.
The Matrix was never proven to be stolen. No evidence was ever supplied and the lawsuit terminated. https://www.snopes.com/fact-check/sophia-stewart-matrix-lawsuit/
Terminator wasn't a stolen screenplay. It was a premise of an episode of an old, filmed TV show called The Outer Limits. This was ruled in favour of the author, Harlan Ellison. The biggest, high profile case of a script proven to be stolen was for Coming to America.
Personally, I say forget trying to hustle for an agent. Do your thing, shoot your own stuff, and only get one when they start coming to you.