Coppola says she’s thinking in images. To get more of the in‑the‑moment feel, she encourages improvisation from her actors.
“Remember Scarlett [Johansson] perched in the window ledge in Lost in Translation, looking out over Tokyo?” she asks. “You project your feelings on her. That’s what I’m going for. I want the visual ways to tell the story rather than have the characters talk.” What’s unsaid speaks volumes.
For Coppola, “The scripts are notes to let cast and crew know what I want to do. I don’t make a shot list. There’s no sense in that until you see the actors rehearse the scene. So, I’ll say, ‘In this scene I want to show X.’ I feel camera placement is really intuitive. It helps to have a script supervisor who keeps track of what I want to accomplish in each scene.”
She breaks down the script while writing it. “I see the movie in three acts and have a sense of how I want each act framed. With Bling Ring I knew I wanted the early acts to be in wide shots and gradually proceed to tighter shots.”
---The Endless Night
---Street View Hyperlapse
---the back-to-the-camera supercut
---Neill Blomkamp discusses District 9
---Ian Grey's "Show Stopper"
---"Twin Peaks has always been a place that has existed—but in the mind."
---Joel Bocko's movie book archive
---"what's important is to develop the mind-set in which composition and technique are as visible as story and acting." --Roger Ebert
---the edit room floor
---movie poster cliches
---"when musicians act"
---90 years of Warner Brothers
---Brandon Cronenberg on Antiviral
---the dance scene of Godard's Band of Outsiders
---The Art of the Heist
---Tarantino's cinematic food
---"Here is where this Ameriad begins, in a Colorado cabin erected on the RKO lot in 1941 and surrounded by mounds of asbestos flakes, and with three adults and a kid and a sled. Something like both the Rosetta Stone and Sistine Chapel ceiling of cinema history, Orson Welles’s Citizen Kane (1941) may have been finally supplanted in the globe’s most authoritative film critics poll (Sight & Sound’s) as the be-all, end-all "greatest" film ever made, but it remains an unparalleled feat of modern cultural hubris and textual density. In the course of 120 years of Babylonian exegesis, ranging from fast newspaper reviews and blog ejaculates to doctoral theses and Lacanian psychoanalytics, no other film has been analyzed and written about so much, and no film has therein generated such a varied and copious library of critical and analytic response. In fact, one could go so far as to say that no film, given the warehouses of dead trees and the warehouse servers of files in question, has remained so defiantly raw and fresh despite the amount of discourse devoted to it. From Andre Bazin’s 1957 employment of Kane as an auteurist foundation text to Pauline Kael’s over-famous 1974 essay Raising Kane to Laura Mulvey’s BFI Classics volume (1992) and beyond, each shipment into the subindustry of critical address surrounding the movie cannot help but demonstrate, the whole while, the analysis’s own singular inadequacy, and cannot help but pale before the scope and richness of the film itself." --Michael Atkinson
---framing the shots of @lenadunham's Tiny Furniture
Candelabra, Elysium, Only God Forgives, Me and You, The Past, Animals, and The English Teacher
---Danny Boyle's comments on a scene in Trance
---Raimi's filmmaking tips, Robert Bresson's notes, and Hitchcock's thoughts on editing
---"Do not frighten president Putin"
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