The Magic of Movies

 Both Dean and Monroe are product of the Actor's studio and of the Strasburg method. Thus cementing "method acting" as the way an actor prepares for the screen. There is considerable heated debate over which technique is right. Strasberg or Adler. There are strong proponents on both sides but in truth they both just have different approaches to acheiving the same thing, a truthful performance. If you have picked an incident that has in itself some motivation it may suggest to you somethung to do otherwise frankly you're going to stand there on stage. After watching the entirety of this video I was impressed with the insane amount of knowledge provided on the history and origin of acting. It taught me many things I did not know before. I learned more about famous directors which I found really cool. 

 The actors studio in York of October, 1947 was a place for professionals and amateurs alike to work and experiment with their craft. Members would be required to try out and it was by invitation only. It quickly became exclusive and a highly regarded place to be in New York acting circles. By 1949 several teachers began running classes at the studio, among them Sanford Meisner, Daniel Mann, Elia Kazan. Lee Strausberg was also brought to teach theater history but 1951, when Elia Kazan had left for Hollywood, Strasberg became an artistic director. Method acting with its naturalistic style was the perfect partner for cinemas unblinking eye which could capture every nuance of the performance. 

 The performances of actors would set the ball for a new American interpretation of Stanislavski's ideas which would ultimately be folded into the term "method acting".  After Stanislavskis Moscow Art Theater toured the United States, two members decided to stay behind and open a drama school called the The American Laboratory Theater in New York City in 1923. Among the first students were the first students were Lee Strasberg, Harold Clurman and Stella Adler who would turn in start their own theater with Cheryl Crawford called the group theater in 1931. The group was a collective of actors, directors and playwrights. Stanislavski's System proposed that a series of physical actions arranged in sequential order would trigger the necessary emotions in an actor's performance. These emotions were based in the unconscious (or subconscious) and could not otherwise directly come to surface when needed. (wpmucdn.com) 

 In the 6th century theater became more formalized. Theater became a men only affair. Another change came with the Greek poet Arian who started writing down the Dithyramb introducing the word to the oral tradition. Around the same time, a singer named Thespis. Format wise, theater developed into these three categories: Satire Plays, Comedies and Tragedies. Satire plays were the oldest drawing from rituals to Dionysus and featured a lot of slapstick. Comedies were topical light hearted lampoons of the people and events of the time. A greek statesman made fun of by the Athenian performer Aristophanes. Tragedies were more serious works which featured a flawed mythic hero and Greek chorus which acted as the plays moral compass. At the end of each tragedy the hero manages to find himself in a catastrophe caused usually by his own hubris. 

 Nolan mentions how getting hands on work with the camera, and editing along that has enhanced his experience as a director. He talks about how it's paid off when it came to actually making feature length films and everything he's done he learnt from it. From terms of anything you're shooting something of a short film when trying to write a script for a short film it's very difficult to write a short film, in some ways its harder than for a feature to have a complete idea in just a few minutes and have a beginning, a middle, and have an appropriate conclusion so you learn a lot about narrative structure. I definitely agree with his words about going out there and getting hands on camera experience and simply practicing your craft by being a versatile creator. Practicing these other things helps you a lot in the long way by preparing you for a variety of situations that could possibly occur. Going forward I want to continue in my path by honing the skills I already have ...

 The cinema notebooks a magazine started by Andre Bazin and Jacques Donial Valcroze with a group of young French film critics including Francois Truffaut, Jean-Luc Godard, Claude Chabrol and so on. One of the central priniciples of Cahiers, derived from Andre Bazin, is a rejection of montage editing in favor of mise en scene the long take and deep focus allowing the audience to take in the scene as it unfolds. The other priniciple, derived from film critic Alexandre Astrucs, is the concept of camera stylo. It is an idea that a director should wield his camera like a writer uses his pen and that they need not to be hindered by traditional storytelling. Combining these two ideas in an essay in 1954: la politiques des auteurs, Trauffaut attacked the French "cinema of quality" with their heavy emphasis on plot and dialogue. These contemporary French directors, he claimed, added nothing to the script beyond that. 

The auteur theory is a film reflection of the personal creative vision of the director. They are the author of the film like a writer is the author of a novel. The natural line of thinking from this in film criticism is that a film's quality is tightly intertwined with the film director. A films quality is ultimately in the hands of the director. As Truffaut said, "There are no good and bad movies, only good and bad directors".  Francois T. But to really understand the impact the impact of this idea which doesn't seem controversial on the surface especially in today's media environment, it should be considered in a historical context. And to do that in the video the speaker glosses over the 20th century and its early French cinema era. France always had a special place in filmmaking history. From the first public film exhibition in the Grand Cafe in Paris in 1895 by the Lumiere brothers to the works of George Melies. Though Hollywood and American films would quick...

He says you can direct from your iphone, from your cell phone with your families/relatives etc. In the most object circumstances most people can get a hold of an image of an audio visual generating machine and they can be and then realize that they are already directing. Directing should't mean anymore feature films. Video games can also do that as long as you have minimal access to any media you should be a director if you feel like you want to and the answer through your work the things you don't like in media. If you dislike the movies that being made make your own show the world wants you think this is medium. He says that he finds it much more simply putting it down and complaining about it. These things he talks about applies to my career because it's a role that I practice when I am given the honor and duty. It's important to remind oneself to not overcomplicate it. 

A better way of looking at a director's role is they have a strong sense of where they can uncover those answers. A director must use everything at their disposal to clearly communicate to their actors, crew, and ultimately to us, the audience. It's up to the director to ensure that the actors have a safe space to explore their characters and take risks. And the actor relies on the director to steer them in the right direction. Forcing an actor into a certain position can ruin their performance. If an actor feels like they need to direct themselves in a scene, they won't risk losing themselves in the world of film and it'll feel fake. To give an actor the confidence they need to inhabit a character, a director must give clear, actionable directions. They know where they're coming from and where they're trying to go. 

 The directors role as far as I know is a role where it requires leadership, accountability,  and responsibility. The director is in charge of instructing the actors on their performance while overseering the overall vision of the story and making sure it comes to life. A very important skill a director needs is to be able to communicate. If they aren't able to speak up on what they want then they must work on it and improve on that skill. Adding onto that being a good director you need good leadership skills. You don't wanna be the grumpy crappy boss but more of the person who pushes their team to strive, and push forward. My question is if the director is in charge of supervising some of the camera work. 

One of the steps you need to follow to become a director is by learning about the job. Understanding what will be asked of you in the role. A director manages the creative aspects of a film; they are in charge of bringing a story to life. Another excellent way to help you get more into that role is by reading and writing scripts. This is a great and free way to immerse yourself in what real moviemaking is. If you genuinely want to make films, then write screenplays. The third thing the article goes over is study notable directors. It's important to start to watch films critically. Start with small films and work your way up. Not everything has to be a finished film not everything has to be good. But that's the way you train your eye and advance your craft. Most importantly network. Attend film festivals and industry events, join relevant groups and organizations etc. Engage with other filmmakers. 

In this video it talks about not complicating setups when it comes to lighting. Get some shower curtains, some lights from ikea they say to kind of convey their message on how it does not need to be that complex. You could use shower curtains as a diffuser and you can be versatile with it. It's the shape you create with a light. They talk about using using wine glasses etc for 3 point lighting. They talk about how the red glass and how flarey it can come out as. Not everything has to be pricey and expensive to get the job done. You think really expensive lighting is whats needed but no there are so many possible substitutes for lighting equipment.