Conversations at the American Film Institute with the Great by George Stevens Jr.

By George Stevens Jr.

A significant other quantity to George Stevens, Jr.'s, a lot widespread publication of yankee movie Institute seminars with the nice pioneering moviemakers ("Invaluable"--Martin Scorsese).
Those represented here--directors, manufacturers, writers, actors, cameramen, composers, editors--are women and men operating in images, starting in 1950, whilst the studio process used to be collapsing and other people may perhaps now not depend upon, or have been certain via, the constitution of studio existence to make movies.
Here are also those that started to paintings lengthy after the studio days have been over--Robert Altman, David Lynch, Steven Spielberg, between them--who discuss how they got here to make videos on their lonesome. Some--like Peter Bogdanovich, Nora Ephron, Sydney Pollack, François Truffaut--talk approximately how they have been motivated by way of the long-lasting photos of the nice pioneer filmmakers. Others discuss how they got down to forge their very own paths--John Sayles, Roger Corman, George Lucas, et al.
In this sequence of conversations held on the American movie Institute, all facets in their paintings are mentioned. here's Arthur Penn, who all started within the early Fifties in big apple with dwell television, directing humans like Kim Stanley and such concerts as Playhouse ninety, and on Broadway, directing for the Seesaw and The Miracle employee, earlier than occurring to Hollywood and directing Mickey One and Bonnie and Clyde, between different photographs, speaking approximately operating in the method. ("When we accomplished Bonnie and Clyde," says Penn, "the movie used to be characterised relatively elegantly through one of many best Warner executives as a 'piece of shit' . . . It wasn't until eventually the image had an id and a lifetime of its personal that the studio said it used to be a sound baby of the Warner Bros. operation.")
Here in dialog is Sidney Poitier, who grew up on an island with no paved roads, shops, or phones, and who was once later taught English and not using a Caribbean accessory by way of a Jewish waiter, conversing approximately operating as a janitor on the American Negro Theater in alternate for performing classes and approximately Hollywood: It "never particularly had a lot of a moral sense . . . This city by no means used to be contaminated by means of that sort of goodness."
Here, too, is Meryl Streep, America's best actress, who all started her profession in Julia in 1977, and thirty peculiar years later, at sixty, used to be staring within the Iron girl, defying the entire ideas approximately "term limits" and a filmmaking weather tyrannized via the male adolescent demographic . . . Streep on making her first photo, and the way Jane Fonda took her less than her wing ("That little line at the floor," Fonda warned Streep, "don't examine it, that's the place your ft are meant to be. And that's how you'll be within the motion picture. If they're no longer there, you won't be within the movie"). Streep at the characters she chooses to play: "I prefer to guard characters that will rather be misconstrued or misunderstood."
The subsequent new release is an interesting revelation of the artwork of creating photos.

Show description

By George Stevens Jr.

A significant other quantity to George Stevens, Jr.'s, a lot widespread publication of yankee movie Institute seminars with the nice pioneering moviemakers ("Invaluable"--Martin Scorsese).
Those represented here--directors, manufacturers, writers, actors, cameramen, composers, editors--are women and men operating in images, starting in 1950, whilst the studio process used to be collapsing and other people may perhaps now not depend upon, or have been certain via, the constitution of studio existence to make movies.
Here are also those that started to paintings lengthy after the studio days have been over--Robert Altman, David Lynch, Steven Spielberg, between them--who discuss how they got here to make videos on their lonesome. Some--like Peter Bogdanovich, Nora Ephron, Sydney Pollack, François Truffaut--talk approximately how they have been motivated by way of the long-lasting photos of the nice pioneer filmmakers. Others discuss how they got down to forge their very own paths--John Sayles, Roger Corman, George Lucas, et al.
In this sequence of conversations held on the American movie Institute, all facets in their paintings are mentioned. here's Arthur Penn, who all started within the early Fifties in big apple with dwell television, directing humans like Kim Stanley and such concerts as Playhouse ninety, and on Broadway, directing for the Seesaw and The Miracle employee, earlier than occurring to Hollywood and directing Mickey One and Bonnie and Clyde, between different photographs, speaking approximately operating in the method. ("When we accomplished Bonnie and Clyde," says Penn, "the movie used to be characterised relatively elegantly through one of many best Warner executives as a 'piece of shit' . . . It wasn't until eventually the image had an id and a lifetime of its personal that the studio said it used to be a sound baby of the Warner Bros. operation.")
Here in dialog is Sidney Poitier, who grew up on an island with no paved roads, shops, or phones, and who was once later taught English and not using a Caribbean accessory by way of a Jewish waiter, conversing approximately operating as a janitor on the American Negro Theater in alternate for performing classes and approximately Hollywood: It "never particularly had a lot of a moral sense . . . This city by no means used to be contaminated by means of that sort of goodness."
Here, too, is Meryl Streep, America's best actress, who all started her profession in Julia in 1977, and thirty peculiar years later, at sixty, used to be staring within the Iron girl, defying the entire ideas approximately "term limits" and a filmmaking weather tyrannized via the male adolescent demographic . . . Streep on making her first photo, and the way Jane Fonda took her less than her wing ("That little line at the floor," Fonda warned Streep, "don't examine it, that's the place your ft are meant to be. And that's how you'll be within the motion picture. If they're no longer there, you won't be within the movie"). Streep at the characters she chooses to play: "I prefer to guard characters that will rather be misconstrued or misunderstood."
The subsequent new release is an interesting revelation of the artwork of creating photos.

Show description

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The more that is explicitly known, the more readily accessible intuitive responses will be. “Geniuses . . ”4 Intuitive Thinking This discussion of intuition therefore proceeds from the premise that articulation of ideas about what kinds of learned knowledge inform an editor’s intuition need not disturb the balance of thinking and doing that allows editors to use intuition in the creation of the rhythms in films. Not everyone will agree with this premise, and furthermore, some editors who disagree are, in fact, extremely credible given their experience, knowledge, and swags of awards.

167. 10. , “Dany Cooper interview,” Inside Film Magazine, p. 43. 11. , Sculpting in Time, pp. 119–120. 12. Ibid. 13. , First Cut, Conversations with Film Editors. 14. , “The anatomy of intuition,” in The Intuitive Practitioner, p. 40. 15. Modell, A. , Imagination and the Meaningful Brain, p. 145. 16. , The New Brain, pp. 35–37. 17. The meaning of “intentional” has significant potential for variation when moving between scientific studies and philosophical studies. As Robert Sokolowski says in Introduction to Phenomenology, “The core doctrine of phenomenology is the teaching that every act of consciousness we perform, every experience that we have is intentional: it is essentially ‘consciousness of’ or an ‘experience of’ something or other .

The other three characters each respond: Lester’s wife (Annette Bening), with a chirpy, high-pitched insistence that glosses over everything; Janie (Thora Birch), with a strangled breath and sound that barely escapes through gritted teeth; and Angela, with an easy poise, a breath rhythm that promises much but gives little away. [Photo credit: DreamWorks/Jinks/Cohen; The Kobal Collection] 19 20 CHAPTER 1: Rhythmic Intuition I propose that Murch’s ideas about blinking and Gibson’s about breathing can be extended to take the actor’s whole body and the whole of the mise-en-scene into account as a source of kinetic communication.

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