Thereafter when the posse moves out of the train, the director transitions the angle of the camera to ensure that it is level with the Posse however that the camera has been positioned behind them which mean that the audience only sees their backs (Dirks 1).
Hill subsequently changes to the use of a telephoto lens to show that the posse is far creating a scenario where they do not tire of the chase thereby creating an image that is familiar. The telephoto lens ensures that the identity of the posse is not revealed to the audience and ensures that the audience can only relate to Butch and Kid. This is because the director has created a sense of the unknown and makes the audience want to know more about the posse (Dirks 1). The use of a zoom feature is used to ensure that the audience feels that they are a part of the fast chase. In one of the chase scenes, the camera zooms in on the posse then slowly zooms out to the location where Butch and Kid who are climbing up a mountainside not too far from the posse and therefore the audience can see how fast the posse is gaining on them(Dirks 1).
Another example of the manner in which Hill makes inventive use of storytelling is in his use of music in the film. The music was limited to four sequences; in the first, Butch Cassidy (takes Etta who is Sundance’s girl out for a morning ride on the bicycle. The music that is used is “Raindrops Keep Falling on my Head” that was written by Burt Bacharach (Dirks 1). The second sequence uses an orchestra theme that is used to set out a montage of photographs of Butch, Etta and Sundance as they travel to New York City. The third use of music is seen when it is used to show the robbing adventures of Butch, Etta and Kid in Bolivia and here a pop them is performed by both a chorus and an orchestra. Music is also used briefly as an underscore in a later scene