By Gary Morris
‘Action!’ provides nineteen amazing interviews with administrators earlier and current, from worldwide, operating in a number of genres, budgets and construction environments from significant studios to indie and DIY. the result's a colourful staff portrait of the filmmaking artwork, a type of pageant in phrases that explores every thing from the big inventive and private satisfactions to the demanding situations and frustrations of the process.
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Extra resources for Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran
Although I was hired to do comedy, strangely enough the first one I did was that submarine picture, Mystery Submarine. I got it, I suppose, because I had been in the Navy. It was alluring to shoot in a submarine, with hand cameras and so forth. But it was a miserable little story. Here the auteurship of the studio comes in. But I did want to do pictures about America. Not just appeal to American tastes. The French call it contes moraux–a series of episodes. Not so much moral tales, as tales about peoples’ morality.
That is, that a camera movement ought to be justified by your actors’ movements, and that your actors’ movements must be justified by the camera. I lay out my camera moves before plotting the actors’. There must be a constant flow of inspiration between camera and people. The goddamned camera must react. And the actors must respond to the camera. Always. ) And I’d say, “Because the camera is interested in you”–which is true. ” What about the use of rear projection in your films? I am always running into people who say, “That’s the best he could do.
I never knew him without the baseball cap on his head. He has newspapers, TV stations, radio and movies. The man dabbles in everything–except art and culture. “That’s why I hire you and Orson,” he told me. I really liked him very much. He had something that I did not, and I had something that he didn’t. And both of us were smart enough to understand that and tolerate each other. I even came to him with that Faulkner book, which nobody would touch. SIRK 21 “Doug,” he said, “you’ve made so much money for me, I’ll do it.
Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran by Gary Morris