Consider me your crossing guard at the intersection of Ridiculous Road and Awesome Ave.
“The secret of success is making your vocation your vacation.”
Today we’re going to learn about a very simple filmmaking technique that with a quick tilt of a camera can generate deep feelings of uneasiness and raise the anxiety of your audience. Yes, we’re talking about Dutch Angles.
According to Wikipedia, “The Dutch angle, also known as Dutch tilt,…
August 5, 1906 — August 28, 1987
I must say that this is one of the best interviews with John Huston.
Let’s see if we can follow your filmmaking method through logically and go on to a description of the process of turning the script into film.
Actually I don’t separate the elements of filmmaking in such an abstract manner. For example, the directing of a film, to me, is simply an extension of the process of writing. It’s the process of rendering the thing you have written. You’re still writing when you’re directing. Of course you’re
not composing words, but a gesture, the way you make somebody raise his eyes or shake his head is also writing for films. Nor can I answer precisely what the relative importance, to me, of the various aspects of filmmaking is, I mean, whether I pay more attention to writing, directing, editing, or what—have—you. The most important element to me is always the idea that I’m trying to express, and everything technical is only a method to make the idea into clear form. I’m always working on the idea: whether I am writing, directing, choosing music or cutting. Everything must revert back
to the idea; when it gets away from the idea it becomes a labyrinth of rococo.
Occasionally one tends to forget the idea, but I have always had reason to regret this whenever it happened. Sometimes you fall in love with a shot, for example. Maybe it is a tour de force as a shot. This is one of the great dangers of directing: to let the camera take over. Audiences very often do not understand this danger, and it is not unusual that camerawork is appreciated in cases where it really has no business in the film, simply because it is decorative or in itself exhibitionistic. I would say that there are maybe half a dozen directors who really know their camera—how to move their camera. It’s a pity that critics often do not appreciate this. On the other hand I think it’s OK that audiences should not be aware of this. In fact, when the camera is in motion, in the best-directed scenes, the audiences should not be aware of what the camera is doing. They should be following
the action and the road of the idea so closely, that they shouldn’t be aware of what’s going on technically. —How I Make Films: Interview with John Huston, Film Quarterly, Fall 1965
Jane Fonda on the set of Barbarella (1968)
This might be the coolest photo ever taken.
“Life should not be a journey to the grave with the intention of arriving safely in a pretty and well preserved body, but rather to skid in broadside in a cloud of smoke, thoroughly used up, totally worn out, and loudly proclaiming “Wow! What a Ride!”
Hunter S. Thompson
We found love in a hopeless place
How did it take the internet this long to think this up.
one time i was trying to dirty talk with my ex boyfriend and i started saying ‘i’ve been a very bad girl’ and he said ‘why what have you done?’ and i didnt know what to say next so i just said ‘i’ve burnt down a house’
Pretty sure I’ve dated this girl…
The World’s Most Dangerous Baby Ducks
Watch out for Stan.
Come here. You’ve got a head you don’t need.
GoldieBlox Breaks into Toys R Us (by goldieblox)
So brilliant. I love everything about it.
I love these new DisneyShorts and Mickey Mouse in Yodelberg is just surreal and goofy enough that I love it the most.