Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.
Orson Welles on film editing:
Movies aren’t just made on the set, a lot of the actual making happens right here [in the editing room]
Here films are saved sometimes from disaster […]
This is the last stop on the long road between the dream in the filmmaker’s head and the public. […]
A film is never right until it’s right musically. And this moviola, this filmmaker’s tool, is a kind of musical instrument.
Via Filmmaker IQ
— Robert Altman (via dblevins)
— John Cassavetes (via gronalund)
— Steven Soderbegh (via moleary)
dir. martin de thurah
“I work in quite an intuitive way so it’s important for me to maintain the thrill of expressing new kinds of feeling.”
the continuous shot through the house in ‘panic room’, specifically the segment through the kitchen, was well documented as a visual effects nightmare with many failed attempts, each reboot requiring more and more labour-intensive work. below, david fincher defends the shot’s cold, mechanical…
cinematographer eigil bryld on designing a uniform look for ‘house of cards’ with director david fincher:
fincher’s ground rules included “no steadicam, no handheld and no zoom lenses.” […] “to a great extent, moves are on the dolly or the boom. we wanted to use the space more so people would grow larger in the frame or move away and get smaller. we went for a more composed look; even though we had very shallow focus, we tried to create deep compositions all the time to add a sense of drama and power, and the 2:1 aspect ratio really helped with that.”
the entire show was shot on arri/zeiss master primes, mostly the 27mm and 35mm. ”we used longer lenses at times for close-ups, but we never wanted the sense of space to disappear,” says bryld.”
zoe barnes gets three sizes of coverage in the scene above, each inching higher and closer to the eyeline.
also, the A and B cameras are usually kept very close, often stacked one on top of the other. ”we typically had one camera doing a low-angle wide over and the other doing a tight over,” says bryld. continuity is key. ”if you have perfect continuity, i think it almost creates a hypnotic universe, like you’re almost experiencing something in real time. in fincher’s world, you have to respect space and time, and two cameras help with that.”
— Joss Whedon (via tanjatheawesome)
“I believe life is nothing if you’re not obsessed. I only think terrible thoughts, I do not live them. Thank God I am not my films. If audiences can laugh at my twisted ideas, what’s the great harm? I had a goal in life — I wanted to make the trashiest motion pictures in cinema history. Thanks so much for allowing me to get away with it.” - John Waters