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Kennemer Dunes national park, today. Act first [ think later ]

Min/max temperature: -3°C/6°C; humidity: 66%; precipitation: 0 mm, sea level pressure: 1030 hPa; wind from SSW 15.9 km/h; visibility: 8.0  kilometres; snow depth: 5 mm

"The standard screen format used to be four by three -- the same as a TV screen. In opting for a bigger screen the industry had to go wide: with a higher one, people sitting in the back of the stalls would have had the top of the image chopped off by the overhanging balcony. Cinemascope (and its successors, like Panavision) used anamorphic lenses on the camera and projector to squeeze the wider image onto normal 35-mm film, and this gave a ratio of 2.35:1. […] A face in the centre of the screen would come out fat, and one on the edges thin, so close-ups had to be framed a bit off centre. […] Discussions went on for some years about what one should do with Cinemascope. Great for westerns […] but how do you frame [ a ] domestic drama? […] To make [ a ] room look wider [ the art director ] gave it two windows […] Then the director […] didn't like the windows and they were replaced by a single one. In those days there was always this peculiar struggle going on between directors and art directors about the wide format. Over time these conversations didn't happen any more. We simply got used to it. […] The way I see it, there's a lot more to being a cameraman than lighting the set […] On a film you have [ camera operators, ] carpenters, painters, plasterers, electricians, property men, stagehands, hairdressers, make-up people. The cameraman has something to do with with all these people because everything is seen trough the eye of the lens. If you find something not up to standard, you have to get the person who's responsible for it and have it put right. […] I often had to get tough with men who weren't pulling their weight. There used to be a lot of lazy people in the filmindustry. [ Later ] attitudes had changed […] more professional. Out in Jordan on Lawrence […] I happened to be having a drink with some newcomer. 'You've mellowed, Freddie,' he said. […] 'You used to be a bit of a bastard.' 'It's not me that's changed,' I told him. 'It's you blokes. If you were a lazy sod I had to turn into an old bastard. It was the only way to get things done.' But there are still occasions when a film needs a cameraman who's 'a bit of a bastard' -- someone prepared to push to get things done."

Freddie Young, 'Seventy Light Years, A Life in the Movies, an Autobiography as told to Peter Busby', page 67, 137, 138, first published in 1999 by Faber and Faber Limited, London

"[T]rust the process […] Intuition -- an element in using "self as an instrument" -- is very important […] but […] it is also necessary to understand the reason for success, as well as the derailing factors linked to any process. […] When it goes well, it's like magic. […] But [ those ] who do not understand the forces that make the "magic" happen [...] may be at a loss if the process begins to derail."

Manfred F.R. Kets de Vries in 'The Hedgehog Effect', page 33, 34. First published in 2011 by John Wiley and Sons, USA

Code of conduct

Kennemer Dunes national park, today. Reflection [ unity of form and content

Min/max temperature: -1°C/1.4°C; humidity: 100%; precipitation: 0 mm, sea level pressure: 1026 hPa; wind from SSE 29.0 km/h; visibility: 6.0  kilometres; mostly cloudy 1402 m.; snow depth: 30 mm

"To follow a moral code would amount to the same as an intellectual judgment about an individual, viewed from the standpoint of anthropological statistics. Moreover, making a moral code the supreme arbiter of your ethical conduct would be a substitute for the will of a living God, since the moral code is made by man and declared to be a law given by God himself. The great difficulty of course is the "Will of God." Psychologically the "Will of God" appears in your inner experience in the form of a superior deciding power, to which you may give various names like instinct, fate, unconscious, faith, etc. The psychological criterion of the "Will of God" is forever the dynamic superiority. It is the factor that finally decides when all is said and done. It is essentially something you cannot know beforehand. You only know it after the fact. […] In applying a moral code (which in itself is a commendable thing), you can prevent even the divine decision, and then you go astray. So try to live as consciously, as conscientiously, and as completely as possible and learn who you are and who or what it is that ultimately decides."

C.G. Jung, 'Collective Work, Letters 1951 - 1961', page 300, 301, first published in 1973 as 'Briefe III 1956 - 1961', 'To William Kinney, 26.V.1956', page 27, Walter Verlag, Olten, Switzerland

"I do not try to bent the plot to fit technique; I adapt technique to the plot. […] A particular angle may give a cameraman -- or even a director -- a particular sattisfying effect. The question is, dramatically, is it the best way of telling whatever part of the story it's trying to tell? If not, out it goes. […] The mark of good technique is that it is unnoticed. […] The important thing is that the director makes his decisions when the need for them arises, and operates with as few rules as possible. The fewer rules you have, the fewer times you'll have to experience the unhappiness of breaking them."

Alfred Hitchcock in  'Hitchcock on Hitchcock, Production Methods Compared', page 208, 209, originally published in Cine-Technician 14, no. 75, November - December 1948, reprinted in American Cinematographer 30, no. 5, May 1949. (Book) first published in the USA in 1995 by University of California Press

Motivation x effort = progress

Kennemer Dunes national park and beach, "muddy" today. Every step requires effort [ effort transcends motivation ]

Min/max temperature: -2°C/0°C; humidity: 92%; precipitation: 0 mm, sea level pressure: 1028 hPa; wind from East 19.3 km/h; visibility: 5.0 kilometres; Clouds overcast 304 m.

"I like my screen well used, with every corner filled, but no arty theories clamping the action down. Nowadays I want the cutting [ film-editing ] and continuity to be as inconspicuous as possible, and all I am concerned with is to get the characters developed and the story clearly told without any directorial idiosyncrasies. [W]e are making Motion Pictures. Too many forget that. A film has got to be ocularly interesting and above all it is the picture which is the thing. I try to tell my story so much so in pictures that if by any chance the sound apparatus broke down in the cinema, the audience would not fret and get restless because the pictorial action would still hold them! Sound is all right in its place, but it is a silent picture training which counts today. Naval men have a theory that the finest navigators nowadays are the men who learnt their craft in the out-of-date sailing ships […] I am told that the talking picture has a bigger range of subjects, I argue that it also lessens the field of appeal. What appeals to the eye is universal; what appeals to the ear is local. […] I like to keep the public guessing [… I built up my interest gradually and surely and, in thrillers, bring it to a crescendo. […] it is […] knowing your script by heart. […] I have to remember that, whereas I know the story backwards, the audience has got to absorb it gradually. […] My artists, too, must behave as human beings. [ Glamour ] has nothing to do with reality and I maintain that reality is the most important factor in making a successful film. […] Next to reality, I put […] comedy [ it ] makes a film more dramatic. […] A stage play gives you intermissions for reflections on each act. These intermissions have to be supplied in a film by contrast and, if a film is dramatic or tragic, the obvious contrast is comedy. [ I ] try to supply a definite contrast. I take a dramatic situation up and to its peak of excitement and then, before it has time to start the downward curve, I introduce comedy to relieve the tension. […] I am out to give the public good, healthy, mental shake-ups. Civilisation has become so screening and sheltering that we cannot experience sufficient thrills at first hand. Therefore, to prevent our becoming sluggish and jellied, we have to experience them artificially […] But it must be pictures first and last. A little sound certainly, but only when the story offers a perfectly natural opportunity for it."

Alfred Hitchcock in 'Close Your Eyes and Visualize!', originally published in 'The Stage', July 1936, reprinted in 'Hitchcock on Hitchcock, Selected Writings and Interviews', page 247, 249, edited by Sidney Gottlieb, first published by Faber and Faber in Great Britain in 1995

"The first draft of anything is shit. When you first start to write you get all the kick and the reader gets none, but after you learn to work it’s your object to convey everything to the reader so that he remembers it not as a story he had read but something that happened to himself."

Ernest Hemingway as quoted by Arnold Samuelson, page 11 in 'A Year in Key West and Cuba', published in October 1984 by Random House Inc. 

"Flowers growing on a hill
Dragonflies and daffodils
Learn from us very much
Look at us but do not touch"

'Some Velvet Morning', performed by Primal Scream & Kate Moss, first released in November 2003 trough Columbia Records in the UK, music video directed by Dawn Shadforth

Less = More

Spring is a beach, today (pictured landinwards towards the sea at the left/West). What we do not do is crucial for performance [ overtraining -- greed -- is at the root of all injury ] 

Min/max temperature: -2°C/-1°C; humidity: 100%; precipitation: 0 mm, sea level pressure: 1022 hPa; wind from SE 12.1 km/h; visibility: 4.5  kilometres; Clouds few 152 m., mostly cloudy 396 m., overcast 914 m.; snow depth: 0.8 mm

Perspective: command your brand™

Dune/beach training, today. Foreseeing trough awareness [ devil is in the detail ]

Min/max temperature: 2°C/6°C; humidity: 100%; precipitation: 0 mm, sea level pressure: 1019 hPa; wind N 5.0 km/h; visibility: 9.0 kilometres; Clouds overcast 1493 m.

Once upon a time, in an episode of a magazine ('Elan', approx. 1991 - 1992, untraceable today): "Corporate identity is expressed trough (its) employees".

It speaks for itself; it is a proven truth