Movies with heavy special effects, battle scenes, big stunts, and crowds usually run much longer. Objects that are lined up from foreground to background seem closer together. In addition, there is the complex time problem (jumping forward and… Some highlights have been hidden or truncated due to export limits. So we… Some highlights have been hidden or truncated due to export limits. We’ll find something else that’ll work as well. It’s one of the most stylized movies I’ve ever made. I have cast cameramen or composers the same way I have actors: Are they right for this picture? You’re damn right there was a readily identifiable style. A major star would defeat the picture with just the advertising. makes the task sound nerve racking and strenuous. the first obligation of Dog Day Afternoon was to tell the audience that this event really happened, how could you justify music weaving in and out? Sometimes my wife and I will have close friends in for dinner on a Friday night. There are four sprocket holes per frame, so we have to go up and back many times to find the right place to cut. “Give me a slight banana on that cross from left to right.” That means: As you’re crossing, arc slightly away from the camera for the same reason that you gave us the… Some highlights have been hidden or truncated due to export limits. While he described the incidents, the scenes we’d seen earlier were repeated as flashbacks. But most of the time fixing the ending can’t do the job, because most pictures aren’t very good. In fact, what people really wear when getting on a train is the. I wanted an aura around him of gentility and tenderness. Some people can do both, but I’ve never known anyone who wasn’t better at one than the other. The only movie score I’ve heard that can stand on its own as a piece of music is Prokofiev’s “Battle on the Ice” from Alexander Nevsky. The actor then says the line in the quiet of the studio, trying to get exact lip synchronization. We’ll never know. Therefore, the first decision made was that we use no artificial light. But I want every scene running the shortest possible length I feel it can be at the moment. Camera position went higher and higher until in her… Some highlights have been hidden or truncated due to export limits. Sometimes, when I need a long lens but want to keep the image sharper, we’ll… Some highlights have been hidden or truncated due to export limits. Mind you, sitting in that mixing room, we have run the movie, foot by foot, at least seventy-five times, often more. By four-thirty or so, I’m careful not to start a sequence or shot that I won’t be able to finish by five-thirty, which is our quitting time. It can adjust to a lot of light or a little bit… Some highlights have been hidden or truncated due to export limits. Rehearsing in sequence gives the actors the sense of continuity, the “arc” of their characters, so they know exactly where they are when shooting begins, regardless of the shooting order. One of the greatest directors of all time, Sidney Lumet has made movies that have been nominated for more than 50 Academy Awards. We looked for browns, russets, deep yellows, burnt orange, burgundy reds, autumnal hues. I knew one would have to go. I take the chiefs of all the departments—props, electrical, grip, scenic artist, AD, locations, stunts (if used), teamsters, rigging—on what we call the survey trip. The scenes with the grown-up children had to allow an emphasis on the blue or cold side. The problem lay in the way the first scene between them had been edited: the scene had emphasized him. But almost no critic spotted the stylization in Prince of the City. But that’s about the limit. Inside the package were perhaps twenty-five sugar wafers in various pastel colors: very light green, pink, tan, aqua, white. But, finally, we’ve heard a train leave the station. The distance from where the image reverses itself to the recording surface (the film) is what determines the millimeter count of the lens. A net reduces the amount of light. Is the movie un Film de Sidney Lumet? And worst of all was the fact that I was the director. The third rule is the reverse: Don’t let a technical failure destroy the shot for you. every scene had to be “covered.” This meant it was mandatory for a scene to be shot as follows: a wide “master shot,” usually with the camera static, of the entire scene; a medium shot of the same scene; over his shoulder to her (the whole scene); over her shoulder to him (the whole scene); a loose single shot of her; a loose single shot of him; a close-up of her; a close-up of him. That’s what matters. Four relightings take an entire day! Dog Day Afternoon. I don’t want the actors to expect automatic praise. Along with camera, art direction (the settings) and costume design are the most important elements in creating the style—in other words, the look—of the movie. “Stunts: O/C” in section 5 means no stunts. melodramas and chase pictures are not hard to edit if the basic material has been provided. How many movies went through changes dictated by “Audience Surveys” and lost whatever quality or individuality they might have had? But guess who have never gone along. It’s a job that can be left to sound technicians, but that has its dangers. And it is. “Don’t work,” I tell the actors. If I finish a location, exterior or interior, at eleven in the morning, moving to a second location within an hour… Some highlights have been hidden or truncated due to export limits. For this picture, I wanted the exact opposite of the rigid visual structure of Prince of the City. Where something took place no longer mattered. That immediately eliminated blue, pink, light green, and light yellow. Only twice has this backfired. He knew he was being forced into a corner… Some highlights have been hidden or truncated due to export limits. In fact, I felt I could turn it into an advantage. One day, because of smog and clouds toward the end of the day, the sky had an orange haze. It gave everything a ghostly, cold, blue pallor, including flesh tones. Whether or not it will happen is something we never know. The varying physical characteristics of the actors may also necessitate changes. The scenes are not cut loosely. Inevitability doesn’t mean predictability. There are no minor decisions in moviemaking. Starting with the normal range (28 mm to 40 mm), we progressed to 50 mm, 75 mm, and 100 mm lenses. A city block was twice as long or half as long, depending on the choice of lens. It’s a chemical process, and one of its limitations is the amount of contrast it can take. It is in the preparation. On Prince of the City, about one hundred and twenty. I ordered orange umbrellas over the tables so the ambient light for the scene itself would take on an orange hue. In The Morning After, we looked for expanses of high color. Because of the “auteur” nonsense, with the all-powerful director, most self-respecting writers would, of course, resist getting involved in a movie. But how much in charge am I? I moved the first part of Act I outdoors and shot it on a sunny day, so this journey into night could seem even longer. Die Aussagekraft des Vergleihs ist sehr wichtig. Dialogue is like anything else in movies. The locations were picked with this in mind. They couldn’t work together. For this reason, it’s vital to have the best creative people in each department. In addition, Andrzej and I laid out a very complex lighting plot. So as the picture progressed, I slowly increased the use of long lenses on her until, toward the end, the same lens was used for Lady and Val. I try to make each scene as tight as I can. since you don’t want the blue sky filter to bleed into the white building… Some highlights have been hidden or truncated due to export limits. I don’t know what makes a hit. Among other problems, we were undecided about how to end it, so I had shot two different endings. As long as it lasted, we’d have a gentle flat light. Early in the movie, we tried to make every background as, “busy” as possible. Sean does the Groucho. There will be a visual difference if we work with Cameraman A or Cameraman B, Production Designer C or Production Designer D. I’ve tried to work in as many genres as possible. In this way, any line of dialogue or any reaction could be eliminated. Nothing was to look normal, or anything close to what the… Some highlights have been hidden or truncated due to export limits. I ordered an ice pack so her cheek wouldn’t swell up and knew that I would never do anything like that again. “I want the picture under two hours.” I didn’t have final cut in those days. And yet at rushes, that same take leaves the slightly sour taste of disappointment in my mouth. The net must be used very subtly, especially when it is intercut with shots of a… Some highlights have been hidden or truncated due to export limits. Then there’s the honey wagon, four portable toilets built into one truck. But get two. As a result, the second scene provided no new revelation about him. Writers are so used to being slapped around that they’re stunned that I want them at rehearsal. And as far as shooting the movie goes, this has been the easy part of shooting. For Daniel, Andrzej suggested that we shoot all the scenes of the grown-up children without the 85. This pattern was broken temporarily as Stockwell and Richardson went into their lyrical arias of self-examination in Act IV, when each one explores what he wanted in earlier and less tortured times.… Some highlights have been hidden or truncated due to export limits. When in doubt, look at it again a day or two later. So let’s do it.”. It can create beauty. Creative work is very hard, and some sort of self-deception is necessary, simply in order to begin. If he feels he blew it, he’ll ask you to reshoot, if possible; it invariably comes out better. We accomplished this through the use of color in the decor, filters in the camera, tempos in the editing. It has happened many times since: Why would he give up the total control of the creative process that a novel provides to write instead for communal control. I try to look at it the other way: What if I’m right? Tears welled up, overflowed, she said the line, and we had a terrific take. In the desperation to get rid of time, the actors’ pauses go, tracking shots are cut in half, everything that isn’t bare-bones plot goes flying out the window. In that sense, a director is “writing” when he makes a picture. The light is of greater intensity than that hitting the actor’s face. There are directors who think they have to provoke, people to get the best work out of them. The individuals they were playing were explained to them in detail. It is extremely valuable. View all » Common terms and phrases. The only way around the problem is to shoot take after take, because the “refill” can come at any time after Take 8 or Take 10 or Take 12. Whatever I am, whatever the work will amount to, has to come out of my subconscious. I’m not “anti-studio.” As I said back at the beginning of the book, I’m grateful that someone gives me the millions of dollars it takes to make a movie. Perhaps a better word is “belief.” But I tend to be a bit more cynical about it, so I use “self-deception.”. Most actors are used to them after a few pictures. Even with as fine a character actor as Robert De Niro, De Niro himself comes out. too dark, that too light, this too yellow, that too red, too blue, too green, there’s too much contrast, too little contrast, it’s too muddy (a combination of wrong color and wrong density and/or contrast), and so on. or wallpaper on the walls gets damaged from constant movement and has to be repaired. The TV has a retractable satellite dish. He pointed to a young boy holding a golden salver. It can provide exposition. beauty in the sense of its organic connection to the material. If the same pace is maintained throughout, it will start to feel slower and slower. That meant I could get three shots on each setup. In my view, only three people know how good or bad the editing was: the editor, the director, and the cameraman. The sky came out bluer. We came up with the perfect solution. With the parents, we went from double 85s to single 85s to half 85s to quarter 85s. It’s not only a question of getting the camera to the right position—“hitting the mark.” He also has to be able to watch and “feel” the actor. Most relighting takes minimally two hours. Otherwise, the physical labor (very hard indeed) will become twice as exhausting. Everything about the movie has become incredibly boring. Sometimes an image is so meaningful or beautiful that it can capture or illuminate our original. The operator nods to me. The first is never to trust laughter. We went out with a hidden camera and photographed every ordinary incident we could shoot on a hot August day. The talent of acting is one in which the actor’s thoughts and feelings are instantly communicated to the audience. But all location work requires a huge crew. Let it tell you how to do it from now on. When this happens, the actor has an awful time. Her side was shot in a part of the set that had a ceiling; his had none. As the lights came up, Merrick derisively called from the back, “Is that it?” I called back, “Ask me in that tone of voice again and I’ll smack you, you shit-heel.” Like all bullies, he hurried out of the room. “It’s a fine picture and a good tight cut. It should augment and reveal the theme as fully as the actors and directors do. How many hours, how many days, have I spent in dark rooms, looking at this movie? Making Movies by Sidney Lumet Summary and Notes. It meant, of course, that I had to have a perfect emotional memory of the intensity reached by Lee Cobb seven days earlier. The classic definition of tragedy still works: pity and terror or awe, arriving at catharsis. How great to have an entire book written by a great director. Although you would expect most of the descriptions to involve camerawork and the actual act of directing, during a good portion of the chapter Lumet describes his habits in the morning… I bring this up to show how delicate the balance is between effects and music. For many years, the cliché about editing was: “Pictures are made in the cutting room.” That’s nonsense. At the beginning of the movie, the… Some highlights have been hidden or truncated due to export limits. The work of blocking the extras can be critical. In drama, there is naturalism (Dog Day Afternoon) and realism (Serpico). Camera position was also important visually. The foreground object (a car, a horse, a running person) seems to be covering more ground faster. His eye was so creative that when he made suggestions on the composition of a shot, it was always better than what I had in mind. If I wanted to get rid of as much background as possible, I’d use a long lens. And most actors aren’t writers, nor are most directors. When tracks are beyond rescue or a word is unclear, we “loop” it. Lady’s character underwent a transition. How great to have an entire book written by a great director. Generally, that would be the sign of a bad score, but even bad scores work. I honestly don’t know. At one point, 20th Century—Fox had to cancel a picture I was about to begin because it was out of money. At this point, any support is welcome. This, of course, brings up the auteur argument. For Q & A and Dog Day Afternoon, everything had to feel accidental—no planning, no color control. It never occurred to me that shooting an entire picture in one room was a problem. That’s how you really learn. No matter how insecure, almost all the stars I’ve worked with have a high degree of self-knowledge. all we can do is prepare the groundwork that allows for the “lucky accidents” that make a first-rate movie happen. There were spectators in the, courtrooms, but all wearing dark blue or black clothes, there were fewer decorations on walls, emptier, streets. I thought his lack of movie experience would be a plus. home women make movies. We made wonderful movies together: 12 Angry Men, The Pawnbroker, The Fugitive Kind. The bank was lit by fluorescents in the ceiling. Generally, we’ll spend the first two or three days around a table, talking about the script. When actors have heard “Print,” they know they have a good one in the can and they relax. Over the body of the picture, his sound was to become more and more isolated, until finally three notes of the original theme, played on sax, was all that remained of the music. What I always try to determine is the general area where I think the picture belongs, because the first step in finding the style is to start narrowing down the choices I’ll have to make. I was to start the movie in March, but its big Christmas release, Hello, Dolly!, had done poorly at the box office. We had to achieve in the production the tragic dimensions of the script. I’ve never understood why directors bring in a three-hour first cut. Andrzej turned the scene into the color of an Orange Julius… Some highlights have been hidden or truncated due to export limits. “You’re running 2:02”—the running time of the movie. I’ll bring that small-part actor in for a day or two in the second week of rehearsals. I love dialogue. for the improvised scenes in the street and in the bank, I used two and sometimes three hand-held cameras to… Some highlights have been hidden or truncated due to export limits. We read the script nonstop first, then spend the next two days breaking it down into its components, winding up on the third day with another nonstop reading. If they have evening clothes, it’ll be stated on their résumé and they’ll get paid extra for a dinner jacket or an evening gown. A close second is Schindler’s List. These distortions are tremendously useful. Ossie Morris, the British cameraman, told me that even after having made hundreds of movies, he crosses his fingers each time the lights go down in the screening room as rushes begin. Sidney lumet best movies - Die hochwertigsten Sidney lumet best movies auf einen Blick! What slowly “presented itself” was that if we visually separated the parents’ lives from the children’s, two worlds would emerge. To start with, music is a quick way to reach people emotionally. Gels used on the lens cut down the amount of light and… Some highlights have been hidden or truncated due to export limits. Henry Fonda never went to rushes in his whole career. more than a hundred different people. tags: decoration, decorator, film, genre, originality, style, stylist. I don’t go out at all during shooting. one of the joys of the cutting room is that sometimes the editing can help turn a scene that isn’t working into one that does. Tension never helps anything. To me, there are two main elements to editing: juxtapositioning images and creating tempo. For the first time, I tried assigning lenses to characters. I want life created. Only now, because they’d taken on a greater melodramatic significance as evidence, they appeared on the screen much more dramatically, forcefully, etched in hard lines. I wanted no relationship… Some highlights have been hidden or truncated due to export limits. Oswald Morris, with whom I did three movies, began the technique with Moulin Rouge, where it was… Some highlights have been hidden or truncated due to export limits. The bed is enormous. With time, most technical problems can be fixed. Generally, you try to shoot three pages a day. A door slams off the set, the microphone gets in the shot, the camera operator goofs, the dolly pusher misses his cue. “No!” she said. Dog Day Afternoon presented a difficult problem. I’ll be asleep within minutes after lying down, a technique I learned in the army during World War II. Don’t be worry [[PDF]] Making Movies can bring any time you are and not make your tote space or bookshelves’ grow to be full because you can have it inside your lovely laptop even cell phone. The tracks are broken down into three sections: dialogue, sound effects, music. The wider-angle lens (35 mm) has a much larger “field” than the 75 mm lens. That’s what the two days of discussions have been about. A first cut that runs over three hours can really damage a picture. Anna Magnani’s character, Lady, starts off as a hard, bitter woman. Some movies tell a story and leave you with a feeling. Some tell a story and leave you. With a long. During these rehearsals, I’m constantly telling the actors not to work full out, just to walk it until all… Some highlights have been hidden or truncated due to export limits. And to go back to work at the best job in the world. It can change space. I always try to keep my locations as close… Some highlights have been hidden or truncated due to export limits. In Network, I was afraid that music might interfere with the jokes. And everybody trips over it. For the men, we started at eye level and the camera slowly dropped, until in two critical scenes in Act IV, the camera was literally at floor level. Again, a darkened room. So-and-so’s “style” is present in all his pictures. I don’t think anyone does. Of course a lot of great information here. The film was taken into a darkroom before we used it in the camera and exposed very briefly to a sixty-watt bulb. Very often, because of the nature of the work, composers develop their own set of musical clichés when they’ve done too many pictures. But on exteriors, it’s quite amazing to see how… Some highlights have been hidden or truncated due to export limits. That shot will still have to be placed between two other shots, one before it and one after it. We call this “dubbing” or “looping,” for reasons I’ll explain later. No script has to fit into an overall theme of my life. He works for Technicolor. I’ve never done a movie that required such elaborate sound effects. it’s because they hate movies and want to be as far from the screen as possible. A lot of critics condescendingly called it a… Some highlights have been hidden or truncated due to export limits. He doesn’t want to see anybody other than Faye watching him, even if he has great concentration. It can define a character. If the actors can get another fifteen minutes’ sleep in the morning, I want them to have it. I finally figured out what was happening. It can make up for a deficient performance. Each contains three compartments, so three actors can share it. What mattered was… Some highlights have been hidden or truncated due to export limits. Since light affects the focal depth, the stop (the amount of light allowed to pass through the lens) is very important. But Quincy and I found that we were literally talking the same language in music. Then we’re into each character, each scene, each line. I don’t think so. A cutter is an opaque board or slat that cuts light off from any place the cameraman doesn’t want it to hit. The tone the AD uses is important. Say if you take only a half-hour lunch break, anywhere between 11:30 and,..., distance from the style to be as far as I said earlier, the cliché about was... Where you can splice two different endings eliciting strong performances from his present actions 's critics., lots of movies, I ’ m the boss only up to point. 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