#1 - Blocking - A frank exchange.
"Was it sexual?"
"... Overwhelmingly so. Loss of control!"
Here is a dialogue scene from Lifeforce. I derive much pleasure from it. You'll have to watch it to get the off-the-wall dialogue and Peter Firth, Michael Gothard, and Frank Finlay's stupendously cheeky characterizations, but for now you can get a load of this sexy blocking.
Firth (Col. Caine) enters into an established shot, which then proceeds to make six careful rearrangements to its frame and blocking within one single roaming take. These are marked (1)-(6), and the idea here is that no cuts are made between them:
(1) 
(2)
(3)
(4)
(5)
(6)
Then the sequence closes with a character exiting the same way a character entered at the beginning of this sequence: at the left side of the frame, where the door totemically stands. In fact, the roaming camera has now returned - relatively, at least - to its original position (the frame labeled (1)), effectively making the sequence a perfect sort of movement palindrome.
Perhaps this wouldn't seem more than mere intuitive scene construction, but it is followed by a highly specific dynamic shot that answers with a rightward flow to the sequence's previous left-enfolding:
[whip-pan, rightward]
[and right-face]
Finlay (Dr. Fallada), who in the previous shot containing him we saw standing up with motions going towards the left-leaving figures, now is figured into Firth's POV, their eyes catching each other briefly, with deep contemplations in both their minds, before Finlay turns and retreats rightward. [Notice how nicely the above frame and the below one - also next to each other in the film - geometrically, graphically compliment each other.]
The camera flows right with him, as he retreats along with the heavy insights he is about to divulge as the scene follows. Firth enters into the frame, actively catching up with the flowing camera, caught in the cascade of its curiosity about the "backwards-going" man and his surely tenebrous and abstruse knowledge. Effectively Finlay, then, becomes a part of the image background (mystery) as Firth (our stand-in) effectively becomes its foreground.
The rightward flow is capped off with Finlay's action of setting his cup of tea (or coffee) down behind him, and the camera takes one more step into the mysterious "rightness" and gives us a shot from behind Finlay, catching him turning and bringing his cup down onto the table and so functioning much more than as just a reverse shot. Briefly he speaks his arcane words to-Firth but away-from-Firth -- as if there's one further degree of esoteric thought he knows exists only between him and the teacup.
(Caine) "Is there?"
(Fallada) "What?"
"Life after death?"
"Do you really want to know?"
With a discernible pause and a gentle smirk, he replies:
"... No."
With another discernible pause, and an expressionless, vaguely snooty shrug of subtle disappointment, the other man replies:
"... But to answer your question, yes, I believe there is."
COMING SOON (but likely not too soon): A full review of Lifeforce, a good picture that I think people underestimate the degree to which it does not make any sense, its biggest flaw.
