One film that exemplifies this is Wes Anderson's The Grand Budapest Hotel, particularly in the concluding fight scene. In this scene, the protagonists Gustav and Zero attempt to run from captors that are wrongly trying to take them into custody. The shot using fast cuts and sweeping shots to showcase the fight. In particular, the aspects of Assembling the Shot that Anderson uses are time, space, and theme.
Employing parallel cutting allows "two concurrent actions to be depicted on the screen without one being completed before the other begins," and this is done with cutting quickly between the two shots in question. In the gunfight scene, Anderson chooses to switch quickly between each of the separate parties, often allowing the audio of one party to play while visually showing another party. This gives the viewer a sense of real time, where each character is performing an action at the same time as every other character.
This scene also shows how the choice of shots can "alter our perception of space." Each party is a different balcony of the hotel, and by carefully placing the camera between the balconies, Anderson creates a sense of space and dimension within the scene. It is easy for the viewer to imagine where each character is in relation to other another, an because of the nature of the scene, this sense of spatial awareness helps with the understanding of the events of the fight.
Anderson uses theme in this scene to help the viewer favor one party over the others. Gustav and Zero and show in whimsical blue clothing holding boxes of cake, and through the fight the two hide behind a pillar. The opposing parties are all shows in dark clothes with large guns, and none of them are hiding. The themes that are associated with each character add a juxtaposition in the scene that creates a comedic effect, provides the viewer with a sense of discourse, and helps the viewer in feeling emotionally drawn towards the protagonists.
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