Michael Rabiger Sözleri ve Alıntıları
Michael Rabiger sözleri ve alıntılarını, Michael Rabiger kitap alıntılarını, Michael Rabiger en etkileyici cümleleri ve paragragları 1000Kitap'ta bulabilirsiniz.
Eleştiri, bir eseri küçük görmek için değil, tam aksine onun gerçek doğasını tanımlamak, iç işleyişine ışık tutmak ve potansiyelini nasıl arttıracağına dair öneriler sunmak için vardır.
Sayfa 123 - Hil Yayınları
Certainly there’s plenty to learn, and it’s fascinating stuff. But tools are just tools, whereas the cinema’s lifeblood comes from human feeling and intelligence. And don’t believe those who say you must learn the tools before you can have anything to say. To direct intelligently, you’ll need:
• A knowledge and love of film language and film history
• A strong grasp of what drama is and how to use it
• A drive to tell stories that comes from passionately held ideas about the human condition
Ideation—the business of defining dramatically charged ideas begins when you set aside some quiet, self-reflective time away from the hubbub of normal life. Then,
• Examine without judgment the marks your life has made on you.
• Write briefly how these experiences have shaped you.
• From these reflections, list:
The kinds of stories you are best qualified to tell
The kinds of characters that particularly attract you
The situations you find especially intriguing
The genre(s) you want to work in (comedy, tragedy, history, biography, film noir, etc.)
• Now go over your answers, and substitute something better for everything that is glib, superficial, or clichéd. Make everything sharply particular. Never settle for fuzzy generalizations. “Generalization,” said the acting theorist Stanislavsky, “is the enemy of art.”
If you are asking, “Does all this philosophy and psychology stuff really matter?” then I have to answer, yes, I think it does, because what you believe will determine whether you are happy and productive working in a collective medium like film. When film students fail, it’s seldom because they can’t handle the work or the technology.
Whether you write your own stories, work from someone else’s script, or choose something to adapt, you will always face these central questions:
• How am I going to use my developing skills in the world?
• What kind of subjects should I tackle?
• What can I be good at?
• What is my artistic identity?
Many subjects that come to mind do so because they are being pumped up by the media or lend themselves to moral propaganda. You’d also be wise to avoid:
• Worlds you haven’t experienced or cannot closely research
• Any ongoing, inhibiting problem in your own life (find a therapist you are unlikely to solve anything while directing a film unit)
• Anything or anyone “typical” (nothing real is typical, so nothing typical will ever be interesting or credible)
• Preaching or moral instruction of any kind
• Films about problems to which you have the answer (so does your audience)
Your split-page script should contain:
Action-side descriptions of:
• Each shot (who, what, when, where)
• Its action content
• Camera movements
• Optical effects (fades, dissolves, etc.)
Sound-side descriptions of:
• Dialogue, word for word
• Positioning of dialogue relative to the action
• Music starting and stopping points
• Featured sound effects (that is, other than synchronous, or “sync,” sound)