In everyone of Ozu's films; his sequences are carefully framed and shot. To put in another way, Ozu has a great talent of framing scenes. His cinematic techniques are memorable: long takes, medium-long/extreme shots, interior shots (frame-within-a-frame). Ozu certainly doesn't like to follow any typical western style of film-making, but rather; he requires that all of his films need to have moment of silence, and a certain slow pace. Ozu still stands to be known as the masterpiece of a traditional filmmaker; he barely utilizes close-ups, tracking shots, panning or tilting, and his camera is often time remain stationary. Ozu's Tokyo Story is a great example to explain his techniques that are portrayed in almost every scene. In the beginning of the scene, the family is sitting down on the floor, we can clearly see that the characters are specifically positioned within the frame, where the younger adults are sitting at the background, the middle-aged adults are sitting the middle-ground, and the older adults are occupying the foreground. This position of characters convey the separation of different generations and family dissolution. Also notice that shot is a long-shot, the camera remains stationary, and the scene is not, in anyway, interrupted by any cuts or editing.
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