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THR334Film & MoviesTextbook Spring 2003: How to Read a FilmSubscribe to Open Class @ 200x AestheticsFilm & Video Directing (Spring 2004): textbook Grammar of the Film Language by Daniel Arijon
Можно сказать, что чисто физические соответствия в колебаниях звуковых и цветовых безусловно существуют. Но столь же категорически приходится сказать и то, что с искусством все это в таком виде будет иметь весьма мало общего. Если и существует это абсолютное соответствие между цветом и тоном, а это, вероятно, именно lass., то даже и тогда орудование этим "абсолютом" соотношений приводило бы наш кинематограф в лучшем случае к такому же курьезу, к какому пришел тот золотых дел мастер, которого описал Жан д'Удин: "...Один мой знакомый золотых дел мастер, очень умный, очень образованный, но, очевидно, мало артистичный, задался целью делать во что бы то ни стало оригинально вещи: лишенный сам, вероятно, творческой изобретательности, он решил, что все природные формы красивы (что, кстати, совершенно неверно), и вот в своем творчестве он довольствуется точным воспроизведением изгибов и линий, возникающих из разных явлений природы при анализе их физическими аппаратами. Так, он берет за образец световые изгибы, получаемые на экране при помощи диапазонов, снабженных на концах зеркалами и вибрирующих в перпендикулярных друг к другу плоскостях (прибор, употребляемый в физике для изучения относительной сложности музыкальных интервалов). Он копирует, например, на поясной пряжке завиток, образуемый двумя диапазонами, построенными в октаву, и, конечно, никто не убедит его в том, что хотя консонанс октавы в музыке и составляет совершенно простой аккорд, однако пряжка, им изобретенная, не вызовет в нас через посредство глаза то же впечатление, какое вызывает октава..." (Жан д'Удин "Искусство и жест"). В искусстве решают не абсолютные соответствия, а произвольно образные, которые диктуются образной системой того или иного произведения. Здесь дело никогда не решается и никогда не решится непреложным каталогом цветосимволов, но эмоциональная осмысленность и действенность цвета будет возникать всегда в порядке живого становления цветообразной стороны произведения, в самом процессе формирования этого образа, в живом движении произведения в целом. Даже в однотонном фильме один и тот же цвет - не только совершенно определенный образный "валер" внутри того или иного фильма, но вместе с тем и совершенно различный в зависимости от того образного осмысления, который ему предписывала общая образная система разных фильмов. Достаточно сличить тему белого и черного цвета в фильмах "Старое и новое" и "Александр Невский". В первом случае с черным цветом связывалось реакционное, преступное и отсталое, а с белым - радость, жизнь, новые формы хозяйствования. Во втором случае на долю белого цвета с рыцарскими облачениями выпадали темы жестокости, злодейства, смерти (это очень удивило за границей и было отмечено иностранной прессой); черный цвет вместе с русскими войсками нес положительную тему - геройства и патриотизма. *
In the top left frame see the directory with other parts. I have to make another new page Contents, where I can experiment with the organization of this ebook.
[ more pages ]
[ Your 2004 textbook -- Grammar of the Film Language -- is written from the editor's POV; everything you did before this stage now must come to fruition. If you did it right. In many ways you making movie backwards -- from the vision you had in the first place. ]
Keep your "vision" of the movie fresh!
Difficult, because you are bombarded by little production details...
I hope you understand that everything we did so far is for this stage of making your film. If you did it right, the editing is fun. If you did it wrong, there are a few thing you can do now to cover your "sins."
First, the selecation of the best (shots and takes). Do you know how to assess what is good and important? On camera, acting, and etc.
Raugh cut. Watch the flow of action. Work with the "broad brash" -- watch the movie in its entirety. Don't rush into details, hold your back as long as possible -- see "the big picture"...
Think about changing the sequences, think big. If the story is not working, consider different segments arrangements. Tarkovsky reshoot the entire film known as "My Name is Ivan" (he got his first directing job, because the original director drove this production into nowhere).
[ if you are mailiar with the oil painting techniques, it's easy to visualize the process of the postproduction -- layer by layer, step by step, one direction at the time (story, character, themes flow). ]
Principles of montage must be revisited. Sometimes switching a couple of shots makes all the difference. Stay open-minded (let your editor, artist, come with his own takes).
[ I use Welles' "Kane" beause the shots are well composed and familiar. ]
You have to keep distance from yourself, you have to see your footage anew. Be critical. If you can leave without this shot, throw it away no matter how much of blood invested in it. The whole is more important than any beautiful part. Cut as much as you can. See it as a spectator, who knows nothing about your thoughts, intentions, life-long plans -- and doesn't care.
Be straight with yourself. Do not assume that everything that you meant to show is on the screen. Don't fool yourself.
The biggest mistake is when filmmakers start explaining their movies; the signal that you didn't shoot what you wanted. I don't want your explainations, too late for that. This is not a slide-lecture. If I don't see it, you didn't show it.
In my yought I didn't mind the comments by the cleaning ladies in the editing room. In fact, I seeked them out.
Separate the things you can fix from something you can't save. Learn the art of sacrifising. That is what "editing" means. Forget it, say you -- I will save this for my next movie. Don't fight lost battles.
I hope that you understand the subtext -- learn the science of editing yourself, learn how to become a master, who is in control of his wants and means. If you have some training in "formalism" you understand me: no meaning exists without forms! No ideas can be expressed without their specific FORMS: the forms are the ideas.
(Re)Eximine the shots (including the angles, Welles) -- learn, even if this is for the next project.
Yes, you still working on your film, but you should never forget to work on yourself! The footage is what YOU delivered; while trying to assemble them, think how you could them differently (and go for reshoot, if you can afford it).
Editing is your final test for being a filmmaker. If you pass it, you have a chance. What do I mean? The stomach to cut yourself, the second eye, the ability to see your stuff objectively. Many die at this stage, because they are after the shots, not the picture. Many are too much in love with themselves and this is the wrong business for them to be in (write poetry). This is the stage when "young" filmmaker become filmmakers.
Finally, when watching the movies, do the re-editing (do it as if you see your own film). The bad movies are perfect for this exercise.
This is the cycle we have no time in class. Important stage, but what I can you do in 3 months? Nevermind, the next one (part 4) -- which is important too, if you want to be a filmmaker. We even have no time to reflect on the final cut! The finals, you know...
I hope that by now you understand why the credits at the end of each movie have so many names, why it's importantant to deligate all tasks (including artistic ones) to other people.
I hope you understand that everything we did so far is for this stage of making your film. If you did it right, the editing is fun. If you did it wrong, there are a few thing you can do now to cover your "sins."
Principles of montage must be revisited. Sometimes switching a couple of shots makes all the difference. Stay open-minded (let your editor, artist, come with his own takes).
[ I use Welles' "Kane" beause the shots are well composed and familiar. ]
Separate the things you can fix from something you can't save. Learn the art of sacrifising. That is what "editing" means. Forget it, say you -- I will save this for my next movie. Don't fight lost battles.
Yes, you still working on your film, but you should never forget to work on yourself! The footage is what YOU delivered; while trying to assemble them, think how you could them differently (and go for reshoot, if you can afford it).
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