Which focal length does Paul Rogers prefer for cinematic shots: 24mm, 50mm, or 85mm?

I lean somewhere between “wide & isolated” and “tight & moody,” so I don’t live at just one focal length.

If you force me to pick for cinematic vibes:

1. 24mm for immersive, environmental shots
2. 50mm for that natural, storytelling look
3. 85mm when I want it compressed, intimate, and moody

So my heart usually lives between 50mm and 85mm.

What kind of shots are you trying to get—talking head, b‑roll, or full scenes?