Sound is at least half of your film; make it 60-70% of the experience depending on who you are talking to. You do not have to be a skilled sound designer, musician or composer to take advantage of its power. You have to, however, be able to communicate with the ‘creative forces’ that will shape the soundscape of your film. Continue reading
Learning how to approach a task can be far more interesting and valuable than learning how to ‘do’ a task. In 99% of the cases, to translate a movie script into visual content is one of the duties of the film director. How would you approach the visual breakdown of the script? How would you transform the written words into visual information that can be shared with the production designer, the director of cinematography and the rest of the cast and crew? Continue reading
Food is on my mind… a lot. I am human. I will always remember my first time working on set; the memories of walking into the old disused hospital, the smell of the dust burning on the lights, the PA’s running around with their walkie talkies, The 1st AD’s voice, the director pacing back and forth between the set and the video village, the food. Ah, the food. Continue reading
Colorists tend to approach the task of correction and grading through multiple passes. When mixing light, I start with the more surgical aspects of the correction before going through a series of artistic manipulations (color equalisation, relighting, isolations, looks,…) Every project brings a new set of challenges and a new set of directions and possibilities. I enjoy the discovery stage the most. After understanding the emotions, story and motivations, I select a few keys shots from the various scenes and play; build a few versions before committing to a look. Continue reading
According to Billy Wilder, if you want to be a director you must be a policeman, a midwife, a sycophant, a bastard and a psychoanalyst. It took me some time to realize the importance of the last point and truly appreciate psychology. Continue reading
I was lucky/unlucky to attend Peter Greenaway’s lecture on Cinema in Pietrasanta, Italy. After a tumultuous (lack of) introduction the filmmaker’s dramatic voice quickly started provoking and capturing the audience. Cinema is dead. Who killed it? In Italy, was it Berlusconi? Or (as suggested by someone in the audience) was it simply Italian laziness? Greenaway is not the first nor the last to wonder about ‘the death of Cinema’. Recently, Tarantino’s now famous statement regarding celluloid rapidly bounced around the web gaining momentum and critiques. Greenaway’s reasoning appears to be different, as he accuses the likes of Tarantino to be suffering from the “Casablanca syndrome”. He believes Cinema has been broken from within, incapable of adapting to a changing world. Continue reading
“I want to be an Editor!” I remember my young self saying those words proudly on my first day of Film School. It might have been because of the fascination I had towards the equipment (I had the unusual chance to experience tape-to-tape editing during my childhood and the rise of ‘affordable’ NLE’s created an entire new world for me to explore). It might have been the appeal of a quieter environment, when compared to the busy life on set. Or, I’d like to believe, I was already aware that editing is an excellent directing school (but clearly, I was not). Continue reading
The blog has been quiet for the last couple of weeks. I could blame the summertime relocation to my homeland, the excessive availability of sunshine, tasty food and wine or the distraction of the FIFA World Cup. Truth is that the relocation was a piece of cake, sun did not shine every day and the World Cup only started a few days ago and has not become an obsession (the food and wine bit is true). I have been suffering the blank page syndrome and this has prompted me to browse the web in search of some insight on the phenomenon. What are the causes of writers block? Continue reading
Recently, my reader was invaded by news from Cannes. All sources were posting headlines referring to Tarantino’s statement using some combination of the following words: Tarantino, Digital, Projection, Death and Cinema. I have respect and admiration for Tarantino’s work. But, when I read ”digital projection is the death of cinema,” I could not resist to feel somehow disappointed.
Then of course, when you add the words “As far as I’m concerned” in front of the same statement, one can more easily understand the difference between The Death of Cinema and the Death of Tarantino’s Cinema. Continue reading
I remember a dear friend of mine expressing his anger towards Ennio Morricone: ”I don’t understand why he always tells us when and how to feel. There is no free interpretation of the content, and the emotions are induced and manufactured”. I could understand his perspective, and I can also appreciate the kind of realist cinema he personally cherishes. What I could not understand is why be mad at one of the most powerful ‘formalist’ forces (to use a word dear to him) available in the filmmakers toolset?
In a way, I then knew I was not the only person having felt tricked and betrayed by the power of music, feeling strong emotions towards a narrative and visual content that would probably have left me indifferent if it was not for the score. Years ago, this obsession for music in film, and the filmmaking process, Continue reading