The look here is the classic noir-y bare-bulb. We motivate from a single top source, and play with shape via blocking around it. We let Jim come in and out of shadows. Add some smoke for texture, with a few specials to keep things popping
Shots wise, we get to play mainly with angle, focal length, and geography (i.e. 180 lines). Here’s a short I did of similar length and similar situation. We divided the conversation into 3-ish distinct sections - the first with off-sides mediums, the second in profile, the third in frontal overs, with the conclusion yielding the tightest eyelines. I think the reason it works is that it’s not LITERALLY sectioned off into those exact shots, but we found areas to transition with subtle movement.
Wright’s masterclass in eye-trace and geography. If you watch closely, you’ll see that 99% of the action flows in the same direction in two dimensions (i.e. left to right, right to left) and he almost always transitions 2D geography within one shot. This will be key for the golfcart stuff.
Here are some things that aren’t directly related to our thing but I think have valuable lessons