Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and TelevisionTouchstone, 04.03.2003 - 224 Seiten Five keys to creating authentic, distinctive work, whether you are a student, professional or simply love making films on your own For Creative Filmmaking from the Inside Out, three professors at the renowned University of Southern California School of Cinema-Television interviewed fifteen outstanding filmmakers, then distilled their insights into the "Five I's" of creativity. Learn how to: • Uncover your unique creative voice (Introspection) • Work from real-life observations and experience (Inquiry) • Draw on your nonconscious wells of creativity (Intuition) • Strengthen your creative collaborations (Interaction) • Communicate at the deepest level with your audience (Impact) This comprehensive approach provides practical exercises that will enrich and transform your work, whether you are looking for a story idea, lighting a set, editing a scene or selecting a music cue. The participating filmmakers, who have collectively won or been nominated for 39 Oscars and 27 Emmys, are: Anthony Minghella, writer-director (The English Patient); Kimberly Peirce, writer-director (Boys Don't Cry); John Lasseter, writer-director-producer (Toy Story); John Wells, writer-producer (ER); Hanif Kureishi, writer (My Beautiful Laundrette); Pamela Douglas, writer (Between Mother and Daughter); Renee Tajima-Peña, director-producer (My America...or, Honk If You Love Buddha); Ismail Merchant, producer (The Remains of the Day); Jeannine Oppewall, production designer (L.A. Confidential); Conrad L. Hall, cinematographer (American Beauty); Kathy Baker, actor (Picket Fences); Walter Murch, sound designer-editor (Apocalypse Now); Lisa Fruchtman, editor (The Right Stuff); Kate Amend, editor (Into the Arms of Strangers); and James Newton Howard, composer (The Sixth Sense). |
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Seite 129
... that gap without sacrificing the integrity of the work . As Walter stated above , films can and should leave room for the audi- ence to have varied responses and interpretations - those that impact 129 Fresh Eyes: The Power of the Audience.
... that gap without sacrificing the integrity of the work . As Walter stated above , films can and should leave room for the audi- ence to have varied responses and interpretations - those that impact 129 Fresh Eyes: The Power of the Audience.
Seite 193
... integrity in choosing projects , 32 , 40-41 ; Into the Arms of Strangers , 33 ; The Long Way Home , 33 ; nonconscious and work , 82 ; problem solving , 86-87 , 87 ; on screenings , 136 ; Skinheads , USA , 32–33 American Beauty , xvii ...
... integrity in choosing projects , 32 , 40-41 ; Into the Arms of Strangers , 33 ; The Long Way Home , 33 ; nonconscious and work , 82 ; problem solving , 86-87 , 87 ; on screenings , 136 ; Skinheads , USA , 32–33 American Beauty , xvii ...
Seite 201
... integrity in choosing projects , 32 , 40-41 ; autobiographical filmmaking versus creative filmmaking , 34-36 ; creative integrity and , 36 ; creative process and , 29 ; drawing on personal memory , 36-44 ; film's impact and , 117-19 ...
... integrity in choosing projects , 32 , 40-41 ; autobiographical filmmaking versus creative filmmaking , 34-36 ; creative integrity and , 36 ; creative process and , 29 ; drawing on personal memory , 36-44 ; film's impact and , 117-19 ...
Inhalt
The Filmmakers | 1 |
one introspection | 17 |
two inquiry | 47 |
Urheberrecht | |
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Creative Filmmaking from the Inside Out: Five Keys to the Art of Making ... Jed Dannenbaum,Carroll Hodge,Doe Mayer Eingeschränkte Leseprobe - 2010 |
Häufige Begriffe und Wortgruppen
Academy Award Nomination actor Anthony Minghella artists audience Best Boys Don't Cry Brandon CALIFORNIA/SANTA CRUZ UNIVERSITY camera characters Cinematographer collaborative Composer Conrad Hall create creative filmmaking creative process CRUZ The University described director documentary dream editing Editor and Sound Emmy Award emotional English Patient Executive Producer experience feel film filmmakers going Hanif Kureishi ideas images impact interaction intuition Ismail Merchant James Newton Howard Jeannine Oppewall John Lasseter Kate Amend Kathy Baker Kimberly Peirce kind Library The University Lisa look mind nonconscious Pamela Douglas play Production Designer Renee Tajima-Peña resonance response scene screen screenplay screenwriter script sense shooting Sound Rerecording Mixer specific story studio talk television tell theme there's things tion TV movie TV series undercurrent University Library UNIVERSITY UNIVERSITY OF CALIFORNIA/SANTA violence visual Walter Murch what's workout write writer-director York