More on dynamics

Dynamics in a score are like the camera angles written in a film script – they can only suggest the physical sound, much as a script can only suggest how the final picture will look. Conductors and musicians are like cinematographers with hundreds of lenses, lights, and filters at their disposal.

Crescendi and diminuendi are like camera zooms in and out.  I don’t know what the musical equivalent of a dolly shot would be.  Not to mention the famous Vertigo effect.  Unless it’s that great Bernard Herrmann chord.