In the National Theatre production of Julius Caesar, it is evident that Nicholas Hytner takes a military and modern approach as we see multiple times where guns are used over swords. Therefore, it is inappropriate to introduce a 'sword' owned by Octavius (Kit Young) amongst the arguing in Act 5 - Scene 1. Due to the fact that the 'drawing of the sword' is unsuitable, Hytner omits 9 lines and is forced to change "sword" to "hands" in the line "I was not born to die on Brutus' sword" at 2:02:01.

At many points throughout Act 5 - Scene 1, Nicholas Hytner's addition of an angry crowd is portrayed as members of Brutus (Ben Wishaw) and Cassius' army. Even though we (the viewers) can not fully see the depth of their army amongst the set, Hytner makes it entirely clear where the members are. The crowd behind Brutus and Cassius (Michelle Fairley) produces an uproar whenever Cassius makes a statement, is offended by Antony's 'tongue' or simply yells in frustration (2:02:07). The crowd's aggravation is unmistakable when Antony calls Brutus and Cassius "flatterers!" at 2:01:48 and when Cassius fires back at Octavius with "join’d with a masker and a reveler!".

At the end of Act 4 Scene 1 (1:42:34) in the NT Production of Julius Caesar, body language is displayed by Mark Antony (David Morrissey). David Morrissey's use of body language in this scene does two things. The first is evident when we see him tap Octavius' arm (Kit Young), causing Octavius to stop in his tracks, look down and really analyse his next move whether it involves trusting Antony or not. Due to the fact that, after just talking ill of Lepidus and calling him "property" behind his back, Antony wants Octavius to take his side and combine powers. Second, it is simply telling Octavius to trust him and it will all work out. Thus, Hytner's subtle addition of 'a tap on the arm' acts as symbol of assurance and motivation.

In the NT production of Julius Caesar, Nicholas Hytner completely omits 37 lines between the bathing of "hands in Caesar's blood" and the re-entrance of Mark Antony (David Morrissey). Hytner decides to omit this part because it is unnecessary in the progression of the play. All the servant does is speak on the behalf of Antony, explain what he thinks of Antony and the need for an explanation for why Caesar needed to die, nothing he could have said himself. In addition, in Shakespeare's Julius Caesar, the Servant tells Brutus that Antony describes him as "mighty, bold, royal, and loving.". Hytner feels this is redundant, as when Antony re-enters, we can see how much Antony looks up to Brutus anyway when Antony says he has never been as ready to die as he is now for Brutus' plans. Finally, Antony finds out why Caesar had to die anyway when Hytner skips straight to the part Antony re-enters.

In the National Theatre production of Julius Caesar, Hytner uses gunshots in the form of sound and flashes of light at 2:10:48 after Brutus desperately wants someone to kill him. The gunshots portray a sense of insistence as when Brutus and Volumnius hear it, both duck down. At the same time, the gunshots during "low alarums" forces Brutus to realise he is running out of time as he must die an honourable death. Ultimately, through the implementation of subtle things like this allows for a highly engaging play and experience that is not achievable from just reading the play.

Brutus' last words before he runs into a sword held by Stratos are "Caesar, now be still; I kill'd not thee with half so food a will." present a subtle flashback for the audience, reminding them of Caesar's death. By doing so both Brutus and the audience come to the realisation that he was wrong to kill Caesar and that Rome is in no better state than it was when Caesar was alive. Shakespeare highlights many who have died due to Brutus' mistakes throughout the play and thus makes Brutus feel responsible for his mistakes by finally making him kill himself.

(Dramatic Annotation) At the end of the scene, right before the citizens of Rome "Tear him to pieces" for being a "conspirator", the 2018 National Theatre production of Julius Caesar by Nicholas Hytner implements heavy metal as a sign of 'the beginning of a fight scene'. This is evident at 1:40:07 when the old lady in blue screams, "Get him!" and pushes him. Hytner use heavy metal in the background to match the angry and frustrated mood of the citizens of Rome. Studies presented by the Huffington Post have shown that 'extreme' music such as the heavy metal in Act 3 - Scene 3 may calm angry listeners. Hytner highlights how outraged the crowd is, by showing that even though heavy metal may soothe angry listeners, it is not enough to calm the citizens around Cinna, thus resulting in Cinna's death.

During Antony's soliloquy in Act 3 - Scene 1, we see Antony coming to the realisation that Julius Caesar is dead. Through allusion, Antony refers to the Goddess of mischief, delusion, ruin, and folly, 'Atë' forever being by Caesar's side. Thus, Shakespeare is able to illustrate to the audience the idea that Caesar is now a complement to bereavement and pain.

Through symbolism in Act 3-Scene 1, Julius Caesar emphasises that he is outstandingly high and mighty and continues to remind how far above he is compared to other men. Caesar calls himself "the northern star" and reveals even though there are many 'stars' (men) in the sky (Rome), "there's but one in all doth hold his place", indicating he is the only person that is suitable to rule Rome. In addition, Shakespeare reveals the irony in this by displaying what follows immediately (Caesar's death) disregarding claims declaring how 'unshakable' and immovable Caesar is.

In the final scene of Julius Caesar, Brutus speaks in iambic pentameter when he knows his 'hour' has 'come'. Shakespeare uses iambic pentameter to mimic rhythm of Brutus' heartbeat on the battlefield. Here Shakespeare forces the audience to feel Brutus' sincerity as they listen to the words spoken from his heart. Ultimately, the authenticity is made clear when Brutus says he has seen "the ghost of Caesar" "Two several times" and needs to kill himself.

Shakespeare's use of anaphora in Act 5 - Scene 2 highlights the quickness Brutus' action of sending Messala with a message to Cassius regarding Cassius to engage with the enemy forces at once. With Messala already on her way to Cassius, Brutus repeats the command to himself, "Ride, ride, Messala". The fact that he pleads Messala to hurry shows the urgency and utmost importance of the message being sent.

Shakespeare's word choice in Act 3 - Scene 3 highlights how quickly citizens of Rome are to assume and jump to conclusions especially at a time like this. A time where Rome has just lost its sole ruler and now in a pit of utter chaos. Shakespeare deciding to name a character, 'Cinna' representing someone who sins, brutally results in Cinna's death. Ultimately, a regular person dying on behalf of their name regardless what they have to say or who they are reveals no one is now truly safe.

In Act 1 Scene 1, people are celebrating Caesar's victory over Pompey. These people that once loved Pompey and are now celebrating his defeat. Flavius then tells the crowd they should not be celebrating but instead go to the "Tiber banks, and weep your tears Into the channel". Hyperbole is used to provide more imagery and emphasise how sad they should be.