That’s the kind of thing that turns a scene into a whole conversation in your head. I usually start by asking myself, “What’s the character secretly feeling right now?” Then I look at the space around them—are they in a crowded room, in a quiet alley, on a balcony? The shot that feels like a silent dialogue is often the one that lets the environment echo that feeling. If they’re nervous, a close‑up that catches that quick glance to the left might speak louder than any dialogue. If they’re lost, a low angle that shows them looking up at the sky can make the viewer feel that weight. So pick the angle that lets the setting amplify the inner voice, and trust that the camera will speak when the script can’t.