I was lucky enough to be wanting to make films when it became much easier because the camcorder, the home-movie camera, came around. Steven Spielberg was the shining star, but he was working in Super 8, so you’re actually cutting the film, splicing it or cementing it together. It was huge and cumbersome, but you could immediately see the results.
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It would have been very natural—and I could see that the amount of nerves and concentration and energy that they were putting into this—that they could have burned out quite easily. But I’m one of those people who loves to get away for twenty-four hours and then I start getting itchy and thinking about home. Whatever ambition you have to spread your wings, I always find myself returning here. After London, when we were making “Phantom Thread”—it was a dream of mine to be able to work there—but when I got back home, I was just so thrilled. The Valley is not the prettiest place in the world, it’s not the most cultured place in the world, I understand that, but it’s home.
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The pieces that make up these films may age over time, the dialogue may become cliche, the costumes out of style and the performances over the top. However, as great films have a solid thematic idea at the core of their story, these themes will stand the test of time. They often represent a moment or period in a particular place in history and have a definite cultural impact. As humans, our lives are also just one big story, so drawing theories, ideas, emotions, truths and themes out of narrative events is something which our brains are accustomed to doing. Many great films have the impact and longevity that they do by taking simple concepts and conveying them through story – almost like a fable. As filmmakers, films give us the ability to take a small moment in life and create a larger story around it.
Great cinematography involves more than just beautiful shots. Camera angles, lighting, and shot composition all contribute to the narrative. However, while good visual effects can be impressive, they are not a standalone measure of a film’s quality. The story, characters, and themes must still engage the audience.
Strong characters are multidimensional, relatable, and have the opportunity to develop during the course of the film. Strong themes are identifiable, even if they can’t be identified right away, they are nonetheless present in the film. The movie follows a comprehensive story arc and is plausible. When movie stars and other creators in the film industry descend upon Hollywood for the 2024 Oscars, they’ll celebrate the best stories put on the big screen in the last year. And look down at No. 41, near “Rear Window” and “Rashomon.” “Bicycle Thieves” is sitting there patiently, perhaps waiting for its time back in the spotlight of serious movie people everywhere.
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You’ve got some clarity that you’re walking into the situation with. And the reason you know is because when you write a scene that doesn’t work, you generally spend way too much time trying to do it. You spend too much time reshooting it, rewriting it, trying it a hundred different ways. And then you realize this thing doesn’t belong in the film. Relationships between characters are crucial in what makes a good movie.
I just read Richard’s review of our film and I’m still sort of processing it all. I’ve had good reviews in my day, but this one might take the cake for how, what the film means to me and how he wrote about it. An old cold black heart like mine kind of warmed up a little bit. I think it’s just a natural gravity toward characters who, because of their nature, will supply good dramatic situations, preferably comedic situations as well. What’s nice about Gary’s ambition is that it’s the ambition of a teen-ager, which is very, very large but only lasts about fifteen or twenty minutes.
I think everyone should, and I think everyone should do everything they do that way. Of the six narrative categories, the researchers found that the Man in a hole stories tended to have a higher average box office gross ($37.48 million). Cinderella was the second highest ($33.63 million on average) and Oedipus being third ($31.44 million on average).
The Cinema Scale creates an objective, reliable standard by which to measure the artistic value of a movie. It contains ten essential elements to look for in movie reviews, each representing one slice of the film pie. Many of us rely on movie reviews to help us answer this age-old question. But how can we trust these reviews to be accurate? “72%” on Rotten Tomatoes; “6.4” on manga quiz IMDB; “43” on Metacritic. Generally, these major movie review websites use a “weighted average,” a formula that compiles reviews from a variety of critics to reach their overall scores.
When you over-explain or have clunky expositional scenes, your story begins to feel — I don’t know — heavy. Your audience is being told what’s going on instead of being allowed to explore the story and figure it out themselves. I found a movie called “The Good Fairy,” a Margaret Sullavan movie that Preston Sturges wrote. [A 1935 romantic comedy, directed by William Wyler.] As much as I love doing this work and I love movies, I’d never even heard of it until a couple of weeks ago. I am one of those people who spends an hour looking at the menu and then I’m exhausted.
Many films have been commercial hits but critically panned, while others have been commercial failures but critically acclaimed. The “goodness” of a movie is subjective and can’t be determined solely by its box-office performance. Whether it’s your favorite film, a box office hit, or a critically acclaimed high art film, remember that each is a work of art, reflecting the human experience in all its complexity. Another important aspect that contributes to a film’s success is its relatability.
I think Virginia Woolf became a great novelist when she realized when she was writing The Voyage Out that she couldn’t invent a plot. So she stopped trying to invent plots and realized that she was unrivaled at tracing the minute-to-minute moments of consciousness of how life registers in the interior life of individuals. She changed the novel forever in many ways because she figured out how to do that. You can write a great novel about boredom because a novel is really about the interior life and the vicissitudes of the interior life. The interior life is by itself fascinating and undramatic. The tear in Barbie is Barbie’s discovery that it’s not working anymore.
He doesn’t really make summer movies in the traditional sense, even when he makes movies — like Gladiator or Alien, like Blade Runner or Thelma & Louise — that happen to open in the summer. The last element on the list is by far the most subjective on the Cinema Scale, but serves an important role that helps us distinguish between great films, and ones that are truly magical. We know the directing lacks vision if the story, characters, and events are missing a sense of unity and direction. Sir Alfred Hitchcock used suspense as a tool to create his unique vision in thriller classics like Psycho. He had a strong grasp on what he wanted to communicate and how to do it through each and every scene. Memorable film scores are the ones that are in harmony with the story through the tactful use of motifs, and evoke the film’s sentiment.