February 2012
21 posts
3 tags
“It’s obvious by now that David Thomson is never going to relinquish his unwarranted and unvarying baseline assumption about Orson Welles, that he was a failure whose life and career consisted of nothing but “decline”. Why? Because what Thomson means by success is precisely what he’s achieved himself: uncontroversial popularity and acclaim, taking popular and comforting positions that...
1 tag
8 tags
Hitchcock/Truffaut
A.H.: Well, the silent pictures were the purest form of cinema; the only thing they lacked was the sound of people talking and the noises. But this slight imperfection did not warrant the major changes that sound brought in. In other words, since all that was missing was simply natural sound, there was no need to go to the other extreme and completely abandon the technique of the pure motion picture, the way they did when sound came in.
F.T.: I agree. In the final era of silent movies, the great film-makers--in fact, almost the whole of production--had reached something near perfection. The introduction of sound, in a way, jeopardized that perfection. I mean that this was precisely the time when the high screen standards of so many brilliant directors showed up the woeful inadequacy of the others, and the lesser talents were gradually being eliminated from the field. In this sense one might say that mediocrity came back into its own with the advent of sound.
A.H.: I agree absolutely. In my opinion, that's true even today. In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema, we should resort to dialogue only when it's impossible to do otherwise. I always try first to tell a story in the cinematic way, through a succession of shots and bits of film in between.
It seems unfortunate that with the arrival of sound the motion picture, overnight, assumed a theatrical form. The mobility of the camera doesn't alter this fact. Even though the camera may move along the sidewalk, it's still theater.
One results of this is the loss of cinematic style, and another is the loss of fantasy.
In writing a screenplay, it is essential to separate clearly the dialogue from the visual elements and, whenever possible, to rely more on the visual than on the dialogue. Whichever way you choose to stage the action, your main concern is to hold the audience's full attention.
Summing it up, one might say that the screen rectangle must be charged with emotion.
“I don’t give a fuck what anybody says. If you don’t have time to see it, don’t....”
– John Cassavetes (via davidformentin)
January 2012
10 posts
2012 In Films
I’ve decided to use this space to log every film I see from this date on (January 23), through the end of year. I won’t offer commentary on each, but will include my favorite images from each film.