Ozu was widely noted for a style characterized by a frequent avoidance of the kinds of camera movements—such as panning shots, tracking shots or crane shots—employed by most film directors. (As he himself would sometimes remark, "I'm not a dynamic director like Akira Kurosawa.") Bordwell notes that, of all the common technical practices that Ozu refused to emulate, he was "most absolute" in refusing to reframe (for example, by panning slightly) the moving human figure in order to keep it in view; this critic claims that there is not a single reframing in all of Ozu's films from 1930 on. In the late films (that is, those from "Late Spring" on), the director "will use walls, screens, or doors to block off the sides of the frame so that people walk into a central depth," thus maintaining focus on the human figure without any motion of the camera.