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Train your eye to catch small things, make adjustments to really get your work where it needs to be. Pinpoint why it’s not working, re animate the whole scene if you have to. Try using the same keys but arrive to them in a different way. #animation

13,746 görüntüleme • 7 ay önce •via X (Twitter)

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Richard Fleischer on how he directs a movie: "Interviewer: How do you work once you’re on the set? Do you have a specific approach? Fleischer: When you’re a director, you’re not only dealing with the actors, but everything needs your full attention at the same time, and that’s what I do for a living: I give a hundred and ten percent of my time and energy and have thought about the things that I am working on, and hopefully, there’s a way to cope with every element you have to deal with. After coming home from the studio in the evening, I plan the next day’s work and layout a plan of action for the blocking of the scenes. I try to block them in my mind before I get to the stage, the position of the actors and where will the camera be. However, when I get to the set, I try not to let the actors know that I have already planned it, I let them feel their way around, and by making slight suggestions, it comes out the way I want it to come out. But the actors feel they have contributed to the direction of the scene, which is what I want. So I am helping them find their way, that’s one of the things. Suppose you’re working on a scene that has already been blocked, or partly shot or well-rehearsed, then I have to figure out the order of shooting: what do I shoot first, second, third… and make a list of every setup I have to make in the order of shooting, not necessarily in the order of continuity. You try to find the most economical way to shoot a picture; for instance, if you got a scene where people are making a lot of entrances and exits through a door, but they’re separated in different parts of the film, you work it out so you shoot all of those doorway scenes one after the other and you save a lot of time. You don’t have to take down the lighting and everything else. However, if it interrupts the flow, if the actors kind of get lost in the scene they’re doing, then I stop that, and I’d have to do it the other way. But mostly, it’s a matter of deciding what you want to shoot the next day and in what order." (Richard Fleischer: “Orson Welles changed everything for everybody”, Film Talk, 2003) Clip from: See No Evil (1971) Director: Richard Fleischer

DepressedBergman

142,398 görüntüleme • 6 ay önce