On Directing Film

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In contrast, a great artist will select particular elements from another artist's work and incorporate them into their unique mix of influences. Link mentioned in the video: Film directors and the number 8 8 Something to Do with Death, by Christopher Frayling

With filmmaking tools being so easily accessible to everyone these days, the barrier to working in this industry has never been lower. The downside of this development is that you'll have to deal with many more competitors when it comes to getting new jobs. To understand why I recommend reading this book, we have to look at this everybody starts their own company's development from a different perspective. After filming, they lead the editing of a film, preparing a ‘directors cut’. That cut will be reviewed by producers and financiers before signing off the final cut.Mamet's book on acting, True and False, was a rather audacious protest against typical trends of theater "acting" wherein Mamet verbally reamed the kind of performers who create "characters" and strive to make "interesting" choices. Stanslavski is worthless to Mamet, as are, likewise, method actors (I wonder how he feels about Daniel-Day Lewis!) Acting, argues Mamet, is about understanding what the objective of the play's text is and executing the obtainment of that objective, thereby communicating the play to the audience in the most uninflected way possible. The job of the actor is to speak of clear voice, be physically fit, and to communicate the play as it is written. Nothing more, nothing less. He scoffs hilariously at accents, mugging, and everything else that many, if not most, actors gravitate towards not only on the stage but in their day-to-day lives. As a person who loves acting but can't tolerate most "actors," Mamet's book was a revelation to me, and helped me to feel okay again about my decision to dodge acting as a career choice. If you find that a point cannot be made without narration, it is virtually certain that the point is unimportant to the story (which is to say, the audience): the audience requires no information but drama."

The steadicam is no more capable of aiding in the creation of a good movie than the computer is in the writing of a good novel -- both are labour-saving devices, which simplify and so make more attractive the mindless aspects of a creative endeavour."

What’s a director good at?

p. 64 A lot of times in movies you want to get out of the scene before the problem is over and have it answered in the next scene. It’s his vision, poetry, pain, philosophy and craft – in his own words. 6 Speaking of Films, by Satyajit Ray

Writing the or a history of filmmaking would involve a fair deal of research especially as one wants to be thorough and accurate. But one thing we can do is to provide you with highlights and fun facts that will up your trivia games and might just give you an edge on your next [ insert a situation here: interview, date, family party…] – you are welcome. The problem with this book is not that it is wrong, about 75% of it is correct about the craft of directing, but that it implies (I think it even says) that there is nothing else to learn. That the content of this book is the essential technique on directing. And frankly, it's really talking about the craft of writing and how that translates to directing rather than directing itself. When justifying a character's actions don't] split your focus...Two reasons are equal to no reasons -- it's like saying 'I was late because the bus drivers are on strike and my aunt fell down the stairs'" In today's world of making movies, everybody has access to the best filmmaking tools and the ability to showcase their work via social media platforms. It means that there is so much more filmmaking competition trying to get eyeballs on their work. Not written by the director, but probably the closest account we will have of his methods and conduct on set. Beware, you might end up losing respect for him by the end. 7 Sculpting in Time, by Andrey TarkovskyBut many of the ways Mamet applies this basic principle I do not agree with. I think that the main difference between him and I is that he perceives film as "design", not "art"; that is, that one should approach film like one approaches making a chair or a house, not like one approaches making a painting or sculpture. Suppose you want to get yourself and your project noticed. In that case, you have to take a different, 21st-century approach, and that's where ' You'reGonna Need a Bigger Story: The 21st Century Survival Guide To Not Just Telling Stories, But Building Super Stories' by Houston Howard can help! Learn how to develop a portfolio career Are you a freelancer who wants to break into other creative sectors? Apply your skills to a different sector or genre with this pool of resources.