Dave Dugdale provides his own unique perspective on the Blackmagic Pocket Cinema Camera.
Alfonso Cuaron talks about the approach to CGI and technology as existing as pure cinema on their own.
Alfonso Cuaron smiled when I suggested that “Gravity” was pure cinema in the tradition of Hitchcock: the long, exploratory shots of Sandra Bullock floating in space with alternating points of view, tethered to a mise en scene of perpetual motion that’s very musical: balancing primal terror with celestial beauty. The opening 13-minute shot alone will be studied for its visual and dramatic force.
While it took some new techniques to pull off such a realistic-looking adventure in zero gravity space (including the construction of the LED Light Box, cameras mounted on computer-controlled robot arms, and custom-designed wire rigs for rotating and tilting the actors like marionettes), the cinematic language fundamentally remains the same.
“I was thinking about pure cinema and that it transcends narrative,” Cuaron remarked. “An abstract language of being immersed in almost like a dreamscape. But the problem with visual effects is what looks amazing one day, two years later looks dated. And that was my only fear with ‘Gravity.’ I hope not.”
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The Oscar race begins…
Basil Shadid borrows a technnique from poetry groups in his The Screenwriter’s Toolkit – 18 exercises to combat writer’s block, two-dimensional characters, inert scenes, and everything else plaguing your script
Before you can begin to craft your characters—the places they inhabit, the goals that impel them, and the obstacles that stop them—you have to instill in yourself the discipline to write. The following exercises are geared toward helping the procrastinator in all of us fill the empty page.
1. Write a succinct affirmation about you as a writer. My example: “I am a storyteller. I am humble to my characters’ needs, and powerful in my ability to represent their lives in a truthful, affecting, and profound way.”
Our limitations become our characters’ limitations. Our characters will take on the stereotypes, prejudices and opinions we can’t work through in our own lives. One way to break our characters out of these limitations is to get insight into ourselves—and thus into those we’re portraying.
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William Friedkin, Steven Spielberg’s Sound Designers Gary Rydstrom and Randy Thom, and Hitchcock biographer Donald Spoto look at the maestro’s use of sound to create chills in his films. Via TheSheik1976
Introverts are super popular right now, celebrated to the point of meme-level. Stereotypically quiet, smart, and reserved, they are often conflated with nerds (who are also currently deemed awesome according to pop culture). But why do we suddenly want to self-identify as nerds and introverts? Is this popularity connected to technology?
In this little bit of audio from Woody Allen’s Comedy album, Allen takes a trip through Europe meeting his favorite literary and artistic heroes.
Alfred Hitchcock’s “Rope” was shot and edited to look like one continuous. It turns out there are 10 cuts which Vashi Nedomansky combines together in a sort of supercut.
I always knew that some of the cuts were hidden by camera wipes…but never realized there were 5 hard cuts hiding in plain view! It’s also interesting to note that the 10 edits alternate between hard cut and dissolve in an alternating pattern. Was this done to maintain a subconscious rhythm to the editing? Was it accidental? I would find it hard to believe that Hitchcock left anything to chance…
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