Reading filmmaking tips from a legend

In terview with francis Ford Coppola

THREE RULES
1) Write and direct original screenplays
2) Make them with the most modern technology available
3) Self-finance them
http://www.eoshd.com/content/8093/filmmaking-tips-from-a-legend-interview-with-francis-ford-coppola

Mise-en-scene - Acting & Costume

Acting

There is enormous historical and cultural variation in performance styles in the cinema. Early melodramatic styles, clearly indebted to the 19th century theater, gave way in Western cinema to a relatively naturalistic style. There are many alternatives to the dominant style: the kabuki-influenced performances of kyu-geki Japanese period films, the use of non-professional actors in Italian neorealism, the typage of silent Soviet Cinema, the improvisatory practices of directors like John Cassavettes or Eric Rohmer, the slapstick comedy of Laurel and Hardy, or the deadpan of Buster Keaton and Jacques Tatí, not to mention the exuberant histrionics of Bollywood films.


Costume

Costume simply refers to the clothes that characters wear. Costume in narrative cinema is used to signify character, or advertise particular fashions, or to make clear distinctions between characters.   

In this example from Life on Earth (La Vie sur Terre, 1998) filmmaker and actor Abderrahmane Sissako uses "similar" costumes (long loose clothes, big hats) to further stress the cultural and psychological implications of a nomadic existence, split between the cold affluence of France and the colorful poverty of Mauritania.

BMCC!!!!!!!!!!

http://www.eoshd.com/content/9186/blackmagic-cinema-camera-review
i check the review of this camera is so good, can wait to play it!!

Mise-en-scene - Space

The representation of space affects the reading of a film. Depth, proximity, size and proportions of the places and objects in a film can be manipulated through camera placement and lenses,lighting decor,effectively determining mood or relationships between elements in the diegetic world.

Mise-en-scene - Lighting

The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. Light affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition. Much like movement in the cinema, the history of lighting technology is intrisically linked to the history of film style. Most mainstream films rely on the three point lighting style, and its genre variations. Other films, for example documentaries and realist cinema, rely on natural light to create a sense of authenticity.

The standard lighting scheme for classical narrative cinema. In order to model an actor's face (or another object) with a sense of depth, light from three directions is used, as in the diagram below. A backlight picks out the subject from its background, a bright key light highlights the object and a fill light from the opposite side ensures that the key light casts only faint shadows.

Decor 2

Rear Projection

Usually used to combine foreground action, often actors in conversation, with a background often shot earlier, on location. Rear projection provides an economical way to set films in exotic or dangerous locations without having to transport expensive stars or endure demanding conditions. In some films, the relationship between scenes shot on location and scenes shot using rear projection becomes a signifying pattern. In other films, it's just cheap...

Rear projection is featured extensively in Douglas Sirk's lush melodrama Written On The Wind (1956). Specifically, almost every car ride is shot in this way, a common feature in Classical Hollywood films, due to the physical restrains of shooting in the studio. In addition, by speeding up the rate of the projected images in the background, or quickly changing its angle, rear projection allows for an impression of speed that involves no real danger.

Even if one of the protagonists of Written On The Wind is a fast-driving alcoholic millionaire (and therefore there are multiple instances of careless driving), rear projection is preferred to stunts both for economic and aesthetic reasons. For example, physical spectacle is not as important in a melodrama as it would be in an action film..

Mise-en-scene - Decor

An important elememt of "putting in the scene" is décor, the objects contained in and the setting of a scene. Décor can be used to amplify character emotion or the dominant mood of a film. In these shots from 2001: A Space Odyssey (Stanley Kubrick, 1969) the futuristic furniture and reduced color scheme stress the sterility and impersonality of the space station environment. Later, the digital nature of the HAL computer is represented by the repeating patterns and strong geometrical design of the set.

In Senso (Luchino Visconti, Italy, 1954) décor emphazises the social difference between a wealthy married woman in her richly furnished apartment and her soldier lover in the barren military barracks. Ultimately, she finds the contrast so appalling that she ruins her reputation and financial standing in order to satisfy her lover's desire for a luxurious lifestyle.

fitsrt time

fitsrt time