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"If we think of ourselves as special creators, we are wrong.
Everyone creates in the same way we do. They invent, imagine, hope, dream, frighten themselves, remember, observe -- and from all this they make for themselves certain ideas and images, some expressible, some inexpressible. Where we're different from most people is the way we try to destroy these ideas and images. we hit at them, strike them, do our utmost to kill them. We often succeed -- the image falls away, lifeless, at last recognisable as a lie or cliche. Just occasionally there is one that withstands our beating. It won't die. The more we beat it, the stronger and harder it becomes. It becomes indestructible. We have made a work of art - we, creators, whose job it is to destroy the tentative, the half-conscious, the merely evocative. The strongest metal is tempered by successive heating and cooling. All can heat -- as a result of the great, marvellous warmth of men. Our privilege, if that's what it can be called, is that we can also cool -- with the terrible coldness of our discipline." -- John Berger # by 브삐료드 | 2010/01/23 04:06 | 트랙백 | 덧글(0)
Confront with the risk, mistake and embarrassment that you might get during your journey to the story.
It could be the story of the character, or the story of you. Always be confident about yourself and don't get frustrated by failure. And remember that the more risky you are getting, the more you can get out of it. 'I do not seek. I find' - Pablo Picasso # by 브삐료드 | 2009/10/14 04:15 | 영화 | 트랙백 | 덧글(0)
우리가 인간성에 대해 정말로 알고 있는 단 하나의 사실은 그것이 변한다는 점이다. 변화는 우리가 인간성에 관해 단언할 수 있는 유일한 특성이다. 인간성의 성장과 발전이 아니라 인간성의 불변성에 의존하는 모든 체제는 결국 실패로 돌아가고 만다.
- 오스카 와일드의 < 사회주의 하에서의 인간정신> 중에서 인물들이 자연의 이법을 거부하고 변하지 않고 남아 있을 수 있는 단 하나의 공간이 있긴 하다. 형편없는 작품 공간. 작품을 형편없는 것으로 만들어 주는 것은 고정된 성격을 지닌 작중 인물들이다. 어떤 소설이나 희곡 속의 주인공이 작품이 시작해서 끝날때까지 내내 같은 면모를 지니고 있다면 그 소설이나 희곡은 틀림없이 엉터리다. - 레이조스 에그리 <희곡작법> 중에서 # by 브삐료드 | 2009/10/09 11:38 | 트랙백 | 덧글(0)
- Is excerpt from feature length film suitable for the short film?
ex> *Rain Man (Qantas scene, starts 42:48) D: Barry Levinson, W: Ron Bass, Barry Morrow 4.5´ In the airport two brothers are arguing about the safety of plain riding. - Excerpt from short film also works in smaller film? ex> Fine Line (excerpt) D: Ang Lee (1984) 5´ - finalist for coca cola film festival ex> Being Reel [Columbia] D: Brett Levner (2004) 1´ - sundance winner ex> Spider D: Nash Edgerton, W: +David Michod (2007) 8´ argue with girl friend and she got hit by car. This film works as a joke since it has first line at the beginning; game and joke works until you lose your eye - mum 3 general types of short film - 1. Drama ends with dramatic resolution. It has clear dramatical objective. ex> *Paris je t’aime, segment “Quais de Seine” D: Gurinder Chadha, W:+Paul Berges (2006) 6´ Boy can get his girlfriend. - 2. Portrait ends with revelation. No dramatical objective->Portrait ex> *Paris je t’aime, segment “Loin de 16eme” D: Walter Salles & Daniela Thomas (2006) 5´ Same song is used at the different situations. That reveals us some information. - 3. Joke ends with the punch line. Punch line gives the completion, but until less than 10' ex> *Gridlock (Fait d’hiver) D: Dirk Belien, W: Johan Verschueren (2001) 6´ We don't care about the real situation of what happened in the film. ex> Lunch D: Matthew Ehlers (2001) 3.5´ -4. Spectacle. If you don't have dramatical tension on your film, aslong as it has spectacle, you can see them & enjoy them. ex> Le Cheval 2.1 D: Stephen Scott-Hayward, Alex Kirkland (2003) 1.5´ ex> Tribeca spot: Apartment D: David Gray, W: Jon Koffler (2007) 1´ ex> Tribeca spot: Transvestite D: David Gray, W: Jon Koffler (2007) 1.5´ ex> Boot Camp [Columbia] D: John Matthews (1996) 6´ 4 tasks to accomplish in short film 1. get the audience interested 2. Hold the audience interested 3. Feel completed, when it's over 4. Feel satisfied, when it's over - 2 Shortest prose type is joke & fable. You don't need much for these. No character, no plot. Punch line & completion - Slight drama ex> Tipped [Columbia] D: Lara Shapiro (1995) 2´ ex> *And the Redman Went Green D: Ruth Meehan (2003) 1.5´ central character has problem imposed to him. only reaction & reactive main character. ex> *Inside-Out D: Tom and Charles Guard (1999) 6´ drama resolves in failure. has some elements of spectacle. - on 3-5 & 8-12, people tend to put too much information. What you need is quick understanding about the situation & character. ex> *Most Beautiful Man in the World, The D: Alicia Duffy (2003) 5´ Portrait, not plot driven movie. You can get pay off by heightened moment. It doesn't have dramatic action. Give some room to you to breathe. - Surprise ex> Secret Telling Time, The D: Tim Schultz (2000) 5.5´ When we see father suddenly wakes up in the bed, we start to think about what's happening. A lot of good short deal with kid since its relation is quick to understand. - Character & surprise & joke ex> *Dinner Conversation D: Jim Cashman (2004) 3.5´ - Rarely, but sometimes they use 'puzzle' ex> *Paris je t’aime, segment 13 “Place des Fetes” [DVD] D: Oliver Schmitz (2006) 6´ We don't know what's going on until we see the conclusion. # by 브삐료드 | 2009/09/19 04:21 | 영화 | 트랙백 | 덧글(0)
클린트 이스트우드의 <Gran Torino>. 영화의 마지막 장면에 나오는 음악. 쓰게 되면 자신을 속이면서, 애매하게 쥐어짜내는 글이 될까 아직 이 영화의 평을 쓰진 못했다. 하지만 기분이 차분해지는 날은 이 음악을 떠올린다. # by 브삐료드 | 2009/06/09 00:21 | 음악 | 트랙백 | 덧글(0)
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