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Ted Quotes

 


Screen Shot 2018-08-24 at 7.24.02 PM

Yesterday producer Ted Hope (@tedhope.fanpage on Facebook) gave a nice shout-out to this blog, so I thought I’d use that to wrangle together 10 Hope-centric quotes from various places. Many are from his Hope for Film book.

‘A new and vibrant cinema’—Ted Hope 
‘If I ran a film school  …’ — Ted Hope
You vs. Kurosawa (and the History of Cinema)
Ted Hope on Finding a Film’s Theme
My Formula for the Perfect Sundance Film—Ted Hope
Ted Hope on Finding a Safe Harbor from Liars and Cheats 
‘Helping others rarely hurts anyone, particularly yourself’—Ted Hope
Define What You Love & Ted Hope’s List of ‘32 Qualities of a Better Film‘
‘A Quiet Place‘…  in Iowa 
The Case for Making a Not So Good Film

His blog Hope for Film—with a focus on the business side of filmmaking—is still online, but not updated anymore because he’s too busy with his role at Amazon. But he’s active on his Facebook fan page so check that out for his wisdom, inspiration, filmmaking experiences and film recommendations.

And if you want short Ted (Hope) Talk, here you go:

Scott W. Smith

 

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I know there is a lot of noise and distractions out there— in regard to finding filmmaking information and inspiration—but I’m enjoying producer Ted Hope’s Facebook posts recently. Here’s just a short excerpt from yesterday’s post.

“To make a great film, you generally have to make a good one first — and to make the good one, you have to make a not-so-good one even before that. Sure, the exceptions come out of the gate strong, but that is not most of us, and certainly not the ones who have to run the long distance race.”
Ted Hope,  Amazon Studios
Facebook post 8/20/18

P.S. The best example of that is Quentin Tarantino. His first feature film was not Reservoir Dogs—that was his first completed feature film. Before that he spent three to eight years (reports vary) shooting and editing  My Best Friend’s Birthday which was never completed.  Along with watching movies, Tarantino considers that his film school. It’s estimated that he spent $5,000 on My Best Friend’s Wedding—which makes for a pretty inexpensive film school.

Related posts:
‘If I ran a film school…’—Ted Hope
Start Small…But Start Somewhere
‘A new and vibrant cinema’—Ted Hope
Failure, Failure—Wild Success (Larry David’s Journey to Co-creating ‘Seinfeld’)

Scott W. Smith

 

 

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“You get tired of going to the movies and seeing stuff that you don’t want to see or not seeing the stuff you want to be dealt with. When the subject matter you love is not being done right, you have to make your own movies.”
Writer/director Spike Lee
(I don’t remember where I first read this quote, but it’s at least 15 years old. Found it in handwritten in an old notebook today. What I used to do just for myself before I had this blog. )

Spike Lee’s latest film, BlacKkKlansman has a 97% Rotten Tomato rating from all critics.  And it opened this weekend in 1,512 theaters making a respectable $10 million. Charlie Wachtel and David Rabinowitz developed the original spec script based on the memoir of Ron Stallworth. (Read the  IndieWire interview  to see how they contacted Stallworth directly and pitched their idea to him.)

Lee and Kevin Willmott are also credited as writers on the finished film.

Scott W. Smith

 

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“When we shoot these films, I don’t move my lips very much. I keep my mouth kind of closed so that when I see the film before we finish it, I can change the dialogue and make it better.”
Marlon Brando during ADR session for The Godfather (via editor Walter Murch)

“There’s a movie you think you’re making, and there’s a movie you made. The movie’s made three times; once on paper, once on film, and once on the AVID [the edit]. And it’s only then that you know what movie you made. And you go back and you do some pickups and some reshoots and shape the dialogue. And if you don’t believe me that this happens on every movie, go home tonight and put on The Godfather and listen to it with headphones, so you can hear all the ADR [Automated Dialogue Replacement] very clearly in that movie. And you realize that movie is a pile of spaghetti in the editing room—it made no sense. If you take out the ADR the movie completely falls apart. I’m not saying it’s not a great movie, but that’s how great movies are made.”
Writer/director Christopher McQuarrie (Mission: Impossible — Fallout)
The Q&A with Jeff Goldsmith

Here are some videos that explain the how and why ADR is used.

Scott W. Smith

 

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I had this amazing experience of being able to go into a screening room at Fox and watch [James L. Brooks] direct Broadcast News, through his dailies. I remember watching the dailies of the scene where Holly Hunter and William Hurt are in those rolling chairs, and it’s kind of a great romantic moment where they come together, and he gets close to her. I watched Jim build this scene out of behavior and dialogue, and I was just . . . high. I realized, I really want to do this. So I began studying all the films, everything I possibly could. That experience really made Say Anything fun, the beginning of a journey. Then I made Singles, and Jim said, let’s do another. He was getting ready to do As Good as It Gets, and we went and had lunch at Delmonico’s on Pico. And that began a whole period of journalistic research, of trailing after characters, building drafts. The first draft of Jerry Maguire was this basic, long, vomit draft. I remember Jim saying, ‘I’ve never read so much story with so little plot.’ It was 140 pages, but filled with the passion of the story. Jim is all about the process. So rather than accenting the problems, he said, ‘let’s embrace structure.’ Out of that came the odd but ultimately satisfying structure of Jerry Maguire, which begins with an ‘all hope is lost’ moment that usually happens at the end of the second act or towards the end of the movie. We started with Jerry’s descent. It was really exhilarating to find that starting point.”
Writer/director Cameron Crowe
Deadline interview with Mike Fleming Jr.

P.S. Could someone close to James L. Brooks encourage him to write some kind of book or do a long-form podcast of his extensive production experiences?

Related posts:
James L. Brooks on Chayefsky
Writing Grace Notes (via James L. Brooks & Judd Apatow)
The Devil Speech by James L. Brooks
Jerry Maguire’s Mission Statement

Scott W. Smith

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This is a good screenwriting/filmmaking follow-up to yesterday’s post on the true life emotional journey and relationship of Taylor & Danielle Morris:

”What people really want to see, whether the character is a bookkeeper or a football player, is an emotional dramatic journey they can relate to. It’s never the fight. Boxing is one part, but it’s the cut-away, to the audience, where you see the wife crying or the sister or the child, that makes you feel engrossed because you can relate to that. If you just see two fighters pounding each other into unconsciousness, it doesn’t pull you in as emotionally as seeing who they are fighting for.”
Writer/director Sylvester Stallone
Deadline interview with Mike Flemming Jr. 

P.S. I believe it’s on the Rocky DVD commentary where Stallone talks about doing a reshoot for that Rocky ending where they gathered a small group of people together to shoot the Adrian! sequence. Stallone said he had doubts it was going to work, but the editing and Bill Conti’s music at the end gave it that emotional ending that Rocky needed. Without that ending I don’t think Rocky wins the Best Picture of 1976. (John G. Avildsen also won the Oscar for Best Director, and Richard Halsey and Scott Conrad also won for Best Film Editing.)

Related posts:
40 Days of Emotions
The Rocky Road to Rocky “It ain’t about how hard you can hit, it’s about how hard you can get hit and keep moving forward.”
Writing ‘Rocky’

Scott W. Smith

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“David Lynch’s The Elephant Man is the one Lynch film that found a mesmerizing middle ground between conventional Hollywood story structure and its director’s surreal dreamscapes. Yet today it seems on the verge of being forgotten, and that’s a shame.”
Kyle Smith, National Review

The Elephant Man is currently available on Amazon Prime and I had forgotten what an extraordinary film it is. The direction (David Lynch), the acting (John Hurt, Anthony Hopkins, Anne Bancroft, John Gielgud), the make-up (Christopher Tucker), the black & white cinematography (Freddie Francis), and the screenwriting (Christopher De Vore, Eric Bergren, Lynch) are brilliant.

It was nominated for eight Oscars and the winner of BAFTA Best Picture in 1981. I saw the film in theaters when I was a teenager and it definitely peaked my early interest in what films could be.

Rewatching the movie makes me want to go read the original source material on the life of John Merrick; The Elephant Man and Other Reminiscences by Sir Frederick Treves and The Elephant Man: A Study in Human Dignity by Ashley Montagu.

And here’s a super article that fills in more about the movie.

P.S. The Elephant Man opened in theaters in October 1980 and that was a great time to be a teenager newly interested in movies. This was the pre-internet days and VHS or cable TV hadn’t come into my world yet. My movie tastes were evolving so I went to see everything I could. Here’s an eclectic—and partial— sample of what I saw in theaters in 1980:

The Shining 
Caddyshack
Raging Bull
Star Wars: The Empire Strikes Back
The Blues Brothers 
Airplane!
The Fog
Urban Cowboy (worth watching just to see Scott Glenn eat the worm)
Stir Crazy (Gene Wilder and Richard Pryor)
Coal Miners Daughter 
My Body Guard 
Private Benjamin 
Used Cars
The Gods Must be Crazy
Brubaker
The Blue Lagoon
Melvin and Howard
Atlantic City
Ordinary People (Oscars: Best Picture, screenplay, direction, supporting actor) 

Then there’s a list of 1980s films I didn’t catch until later Breaker MorantAltered States, Stardust Memories, and Alligator (early John Sayles screenplay). A couple that slipped by me I need to check out: Kurosawa’s Kagemusha and Jim Jarmusch’s Permanent Vacation. And some interesting titles I never saw and probably never will; Cannibal Apocalypse, Fists of the White Lotus, Eaten Alive!, Blood Beach.

Cheers to the class of 1980. Lots of talent on display that year.

Related post:

Legacy Filmmaking (and Your Bank Account): “They’re never going to talk about your bank account when you’re dead, but they will talk about maybe the movies you left behind if you really cared about what you did.”—Frank Darabont

Scott W. Smith

 

 

 

 

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