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Restore Your Faith in Cinema


VASI

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I'm not sure I agree with a lot of shots.

Setting up a camera and pointing it at nature in its full glory doesn't require cinematic skill, just setting a stop and turning on the camera, and having the money to wait around until it looks cool doesn't hurt either.

What's missing are so many creative shots which drive the story. To me, that's what cinema is about.

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That was very nice, thanks. BTW, there is a lot more to shooting great nature shots than "Setting up a camera and pointing it at nature in its full glory". I worked on nature films for many years--it's a whole lot about location scouting, being there at the crucial moment with what you need, being able to compose and even set exposure (in the film days) in preparation before "the moment" comes....ask Ansel Adams et al. Very often those great shots are in very inaccessible places, and figuring where the sun might come up (for instance) is a science in itself, esp in the days before "sun finder" apps. A big percentage of the time the shot will be a dud--clouds, weather, human factors etc--the hit rate is actually pretty low compared to shooting with actors!

philp

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What would really restore my "faith in cinema" would be the ability to sit in a theater that has decent projection and sound, and be able to watch a print that hasn't been beat to shit by some uncaring popcorn guy making minimum wage. While we still (thankfully) have places such as the Academy Theater and other specialty venues, the days of being able to go to your local cinema and enjoy a film with decent picture and sound are pretty much gone. (Don't bother me with all the Digital Cinema hype-I can stay at home and watch TV).

BTW: +1 for Jacques Tati's "Playtime". Took us months of negotiations to obtain the only existing 70mm print from Tati's estate for a showing a few years back. Was worth every second of the grief involved....

--S

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I'm not sure I agree with a lot of shots. Setting up a camera and pointing it at nature in its full glory doesn't require cinematic skill, just setting a stop and turning on the camera, and having the money to wait around until it looks cool doesn't hurt either. What's missing are so many creative shots which drive the story. To me, that's what cinema is about.

Amen to that. 113.gif

To me, the decisions the editor makes are almost as important as what the cinematographer shoots -- maybe even more important, in some ways. The DP might have 59 bad shots but one brilliant shot, and that's the one that everybody remembers. I got to work a little bit on Precious Images, the 1986 short done by filmmaker Chuck Workman, and he told me, "eh, it wasn't that big a deal -- when you have a hundred or so of the most brilliant movies ever made, finding good material is not a problem." But I've watched the thing 50 times and love it every time:

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