The Pre-Production and Production shoot. “You never have complete confidence. But of course there comes a time when you feel that you have learnt the trade and craft of making films, so I feel now I know the language and how to use it to get a particular emotion” (Almadovar Cited by Goodridge 2012 p.14) Being a student-Director, who is still learning the ropes of filmmaking I was also unsure about many things. However, when I read Almadovar’s interview, it assured me that such conflicts are common for most Directors, and it would take more time for me to master all filmmaking language to be at my best. Even someone are as prolific and experienced as Almadovar has faced some level of insecurity. Upon reflecting on what I did, I believe that my insecurities have helped me to work harder in order that I can have better control of all production stages. To be fully prepared I organized several pre-production meetings with my crew members making sure that they understood my creative vision. I met with the director of Photography-student discussing shots and angles. We even conducted a camera test session, because I wanted to execute a seamless match cut with a graphic match between 2 shots by juxtaposing last frame of shot one and the first frame of shot 2. Inspired by the graphic match cut from the Barnardo’s Ad (Barnardo’s 2011) I presented the video to my group members and they aspired to achive what I visually aimed for. My producer then organized a casting call, which was very disappointing because there were very few, who actually turned up. Fortunately, two experienced actors showed up and they were a father and son team. And so I conducted a short acting workshop to test their acting range. I was very happy with his son’... ... middle of paper ... ...sleek, staticly composed shots to complement the rough and disturbing emotional drama to create a contrast between the film form and the dramatic content. However, I was impressed with my cinematographer’s performance for being able to capture the shallow depth shots I wanted and manipulating the focus ring on his own, handheld, and still manage to capture the emotional moments. I do realize there were several shots that was out of focus, but it created raw gritty look that helps magnify the emotional confrontation scene. In conclusion, despite of the fact that I first struggled with the ideologies of Cinema-Verite, I believe that in the end the style somehow served its purpose in telling the whole story. Additionally, it was a collaborative dynamic effort. And each member of the group took ownership of this project and creatively invested their best efforts in it.
In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.
The Japanese filmmaker Akiko Izumitani once said, “If you want to be a Filmmaker, you have to endure hardship, frustration, and financial problem and if you love filmmaking more than anything, you won’t quit.” Robert Rodriquez, a man with some radical notions on life and filmmaking, embodies this willingness to overcome obstacles to follow your dream. His book Rebel without a Crew documents his experience making his first feature film from inception to completion. In particular, the making of El Mariachi (1992) contains vital lessons of learning technical and soft skills necessary to succeed in the film industry as a filmmaker. However, in a larger sense, the book displays how an amateur filmmaker from Texas went from making a $7,000 feature
Lisa Cholodenko grew up in Los Angeles and she began her film careers working as an assistant editor; however, she then moved to New York and earned an MFA in screenwriting and direction at the Columbia University School of arts. At Columbia University School of Arts, Cholodenko filmed her first short movie Dinner Party. Besides being a director, Lisa Cholodenko also was a film professor at Columbia University, an advisor and is currently on the Board of Governs of Academy of Motion Pictures Arts and Science. It was surprising to be able to find out how active Cholodenko is in the film industry and in the university she attended. This portrays how committed Cholodenko is to creating successful movies and to be a part of others film victory.
an interesting one. The use of cinematography in the film is creative, and it incorporates
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
This essay shows the subtle differences that can occur between directors, even when they are basing the movie off of almost the exact same script. Almost no two movies are exactly alike, no matter how hard the directors and actors might try. Minor personality differences and scene changes greatly affect the atmosphere and meaning of the same movie. One example of this is the movie Romeo and Juliet. This movie tells the gripping story of two young lovers who are forbade to see each other because of a viscous feud between the two families. I'll be looking at the older 50's version of Romeo and Juliet and comparing it to the newer version of Romeo and Juliet.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Good acting relies on a kinesthetic, an intrapersonal, and an interpersonal intelligence, all of which work together to form a creative expression. There exist limitless styles of acting; there is always something to learn.
We realised, we being the young filmmakers I used to hang around with, that sound is your special friend and does at least 50% of the job sharing with picture. (Coppola) (Thinking Sound, 2011)
From a young age, I was very curious. Curiosity caused my mind to see everything from a different perspective than most. I saw what could be improved and how I could improve. For example, when it came to editing movies, I was always able to see what could how it could have been better or I questioned how they had created it. My curiosity led me to try many different activities throughout high school, such as film camps, stage managing for plays, yearbook, and even creating videos for Rochester High School’s awards day. Finally, my junior year, I decided it was time I made films of my own for competitions. I wanted to have something that I could call my own. When it came to the two films I did for contests, I was there throughout the whole process.
Best known for his unique and non-linear style and to many people as the best director of the past decade, Christopher Jonathan James Nolan or just simply Christopher Nolan, is one of the most talented and influential film directors and screenwriters of our time. He, like most directors have never studied film and is a self-taught filmmaker. In this essay I am going to write about his early life and how he got into filmmaking. His early career and his rise to fame with Batman movies, his personal life and the influences he have had on the film industry which makes him one of the best directors of all time and my personal favorite.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Production Functions A production function in general, without specifying what kind, is related to the output of a production process which starts with the factors of production. Production functions are an integral part of explaining marginal products as well as allocative efficiency. There are different classifications for production functions, and what constitutes them, determined by the type of production. This article of the WIKI aims to focus on the Substitional production function, explaining what it is and means, as well as the limitations, of doing the same.