Collected Data
"When diplomatic discussions and love-making with an alien race will fall through, and you'll have to fist fight for your life."
Read: "Intensified Continuity: Visual Style in Contemporary American Film" by David Borwell
Today, most films are cut more rapidly than at any other time in U.S. studio filmmaking. Indeed, editing rates may soon hit a wall; it's hard to imagine a feature- length narrative movie averaging less than 1.5 seconds per shot.
(PDF) Intensified Continuity: Visual Style in Contemporary American Film
Listen: "You Are Not So Smart Podcast #36"
When you are unskilled yet unaware, you often experience what is now known in psychology as the Dunning-Kruger effect, a psychological phenomenon that arises sometimes in your life because you are generally very bad at self-assessment. If you have ever been confronted with the fact that you were in over your head, or that you had no idea what you were doing, or that you thought you were more skilled at something than you actually were – then you may have experienced this effect. It is very easy to be both unskilled and unaware of it..
Why we are unaware that we lack the skill to tell how unskilled and unaware we are
"Are artists first and foremost devoted to creation and exploration, or is that a handy excuse for some deep-seated need to impose order on one tiny corner of the universe?"
it’s possible that your creative choices may break the rules that define the medium you’re working in, which will then compel the people you’re communicating with to either adapt their entire conception of that medium to your choices, or to laugh in your face.
Storytelling and the Power of Mediums
Quote: "You can't demand creativity, not for long. You can earn it though."
the most likely way to get the work you seek is to earn it, to have people bring their best ideas forward because of the leadership and guts you bring to the table.You can't demand creativity, not for long. You can earn it though.
Despite, in spite of, because... three ways to manage creativity
"But that’s the point: Godard likes his audience to work hard"
A loner of French cinema; he is an onlooker, at one with his thoughts and with an inner commentary that spills onto the movie screen with vigour and passion. At 83 he is still very much into his craft, and his skill as an editor, though very much of the old school, still has the capacity to impress
IN CONVERSATION WITH JEAN-LUC GODARD. FILMMAKER EXTRAORDINAIRE
My last Godard link for the day. I promise.
Read: "ADIEU AU LANGAGE: 2 + 2 x 3D” by David Bordwell
The brute fact is that these movies are, moment by moment, awfully opaque. Not only do characters act mysteriously, implausibly, farcically, irrationally. It’s hard to assign them particular wants, needs, and personalities. They come into conflict, but we’re not always sure why. In addition, we aren’t often told, at least explicitly, how the characters connect with one another. The plots are highly elliptical, leaving out big chunks of action and merely suggesting them, often by a single close-up or an offscreen sound. Godard’s narratives pose not only problems of interpretation but problems of comprehension—building a coherent story world and the actions and agents in it.
ADIEU AU LANGAGE: 2 + 2 x 3D
And a follow up...
Say hello to GOODBYE TO LANGUAGE
"The 83-year-old filmmaker has the attitude of a young innovator."
"For every project, he's looking for the unknown," Maraval says. "He looks for an experience. He doesn't know where he goes, and that's what motivates him. That's what I call being very young. ... He's always very ready for adventure."
At 83, Filmmaker Jean-Luc Godard Makes The Leap To 3-D
"So I learned the rules, and I saw that it’s not very interesting with the rules.”
For the deep-horizon outside images, Aragno similarly ignored the usual guidelines: “Hollywood says you shouldn’t have more than six centimeters between cameras, so I began at 12 to see what happened.”
Goodbye to 3-D Rules
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