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Details: Parent Category: Engels; Category: Training; Created: Saturday, February 18 2017 13:46; Published: Saturday, February 18 2017 13:46; Written by Bart

Kennemer Dunes, today (1/3). Break it [ make it ]

Min/max temperature: 4°C/7°C; humidity: 99%; precipitation: 0 mm, sea level pressure: 1026 hPa; wind from SSE 8.0 km/h; Clouds: Few 152 m, Scattered Clouds 213 m, Mostly Cloudy 274 m; visibility: 5.0 kilometres

"The point in which content leaves off and technique begins is blurred, and yet they are so interdependent that one is impossible without the other. Above all, then, the filmmaker must not only be fully aware of both art and technique, but of technology as well. Film-making is a twentieth-centrury art born of science. [...] Consider ultra sensitive high-speed [ film ] that allows picture-taking under seemingly impossible light conditions, or transistors that make feasible vest-pocket synchronous units that record actual sound and speech anywhere. Such developments, which make possible so much more, may at times be an obstacle, because the temptation is so great, and so subtle, to concentrate on mastery of the technique. In the heady excitement of achieving effect or of bringing off a difficult tour de force, it is easy to find a pseudo artistic satisfaction that blinds one to the demands of a fully artistic piece of work. [...] Discipline is what is sorely needed. Often, the so-called depth and insight are in reality lots of smoke and little fire, emotionalism without substance. The […] filmmaker must clarify his substance by analysis and structure development, with close scrutiny of the causal relationships. […] In the making of a film, aside from creative effort, much is required of the film-maker in the way of technical knowledge and organisational know-how. Unfortunately, his mastery of these areas can lead to such sense of accomplishment and satisfaction that he may be trapped into forgetting why he initially set out to make a film. It is not unusual, for example, for him to become so absorbed in the technical aspects [ of lip synchronisation ] he overlooks what is being said. […] The film-maker needs, therefore, in addition to a solid technical foundation, an insight into those things involving ideas and values. He needs to know where his talents shape up best, whith what kind of material he functions most effectively, in what way he can set up a frame of reference within which to explore his material, and how to clarify his point of view. How he wants to say anything, let alone decide the most effective way to say it? To seek conscious and direct answers to these problems is next to impossible because they cannot be arrived at in the manner of mathematical equation. Rather, the answers will emerge to one degree or another, trough the actual making of the films. [...] The filmmaker has to constantly make films. The questions should be left to the critics, the scholars, and the analysts."

Haig P. Manoogian in 'The Film-makers Art', page 1, 2, 159, 247, first published in 1966 by Basic Books, Inc. New York, London

"Art comes out of craft. That's where the art comes from. Movies are craft, they're not art. Art comes out of craft. [You] may have a great idea for a painting. But can you paint? If you say "No," than your idea isn't worth a shit. […] Pretty photography is easy; it really is the easiest thing in the world. But photography that rounds a picture off, top to bottom, and holds the content together, is really the most beautiful. […] You try not to put the photography in front of the story; you try to make it part of the story."

Gordon Willis in 'Masters of Light', page 294, 302, by Dennis Scheafer and Larry Salvato, first published in 1984 by University of California Press, USA

"I want to always be free to not have to do something. I want to not have to take a picture for any other reason than because I want to […] I don't want to take a picture because I have to. That's how despair begins; when you don't have the freedom to say no to something that you don't want to do. Suddenly you get locked into not being free."

Conrad Hall in 'Masters of Light' , page 173 by Dennis Scheafer and Larry Salvato, first published in 1984 by University of California Press, USA

"Despair is the only unforgivable sin, and it's always reaching for us."

Sam Peckinpah in 'Peckinpah, the Western Films, A Reconsideration', introduction, by Paul Seydor, first published in 1980 by the Board of Trustees of the University of Illinois, USA

"Aesthetic and ethical decisions are seldom made from a position of cool intellectual neutrality; more often they are forged in discomfort and anxiety over conflicting moral obligations -- to actual people who know and trust you, on the one hand, or to truths whose importance may transcend any individual's passing discomfort, on the other. [...] Only with maturity can you identify the surrogates to your own values and temperament, and allow them to achieve a life of their own in a film. The discipline of such a process has its own rewards. Your work alters the way you see the fundamentals of your own life -- the very source from which your documentary process sprang. In this way, each film lays the foundations for the next."

Michael Rabiger in 'Directing the documentary (third edition)', page 364, published in 1998 by Butterworth-Heinemann, USA

"The best people know more."

David Ogilvy in 'Ogilvy on Advertising', page 21, first published in 1983 by Multimedia Publications (UK) Ltd.