The thing is, once I leave the master shot, I don't want to come back to it; it doesn't seem right.
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It was good enough for the opening scene of ANH as the rebels wait for that door to get cut open ;-)
The trick would be, if you wanted to figure it out, make the moving master build toward something-- i.e. allow it to be a thread that pulls several shots together for a pay-off once the master is over. If we start on a moving master, pushing in... then cut to a c.u. of Mace or Yoda... then back to the master, still pushing in (but NOT back to where we left off-- you have to allow the master to "continue" moving in the back of our minds, as if it were continuing even as we cut away) the master moves us closer to Palpatine... then cut to another c.u. of Mace... then back to the very end of the moving master before the PAY OFF-- a c.u. of Palpatine saying a crucial line ("My negotiations will NOT fail." or something). Then the editing carries on from there.
You make perfect sense in saying why you have to flip both the master and the c.u. There's the "180 line" that you cannot cross if you want to maintain a steady geography. If the camera suddenly cuts to an angle from the other side of the room it jolts the audience into confusion. We like scenes staged as if we were sitting on one side of all the action, like it's on a stage. When editors break this rule, sh*t happens.
It's shocking what you point out about the animated duel shots. That's why this is the Ranch. We don't let crap like that sneak by here at the Ranch -- only amatures make that kind of mistake. We can't afford to because we're making Star Wars!