Creative Filmmaking from the Inside Out: Five Keys to the Art of Making Inspired Movies and TelevisionSimon and Schuster, 15.06.2010 - 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-Pe?a, 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). |
Im Buch
Ergebnisse 1-5 von 55
Seite xiii
... characters , cookie - cutter plots , hackneyed dialogue and imitative stylistic flourishes . We have written this book to be appropriate for those learning filmmak- ing on their own as well as for students in xiii Introduction.
... characters , cookie - cutter plots , hackneyed dialogue and imitative stylistic flourishes . We have written this book to be appropriate for those learning filmmak- ing on their own as well as for students in xiii Introduction.
Seite xvii
... characters , loca- tions , and visual , sound or music motifs in the way they did . Another way this book is unique is that everything in it is applicable to every creative role at every stage of the filmmaking process . We sought uni ...
... characters , loca- tions , and visual , sound or music motifs in the way they did . Another way this book is unique is that everything in it is applicable to every creative role at every stage of the filmmaking process . We sought uni ...
Seite xix
... characters " -Carroll , Doe and Jed - in this story of cre- ative filmmaking from the inside out , mixing our own examples with those of the filmmakers we interviewed in the pages to follow . the filmmakers Hanif Kureishi Writer Your ...
... characters " -Carroll , Doe and Jed - in this story of cre- ative filmmaking from the inside out , mixing our own examples with those of the filmmakers we interviewed in the pages to follow . the filmmakers Hanif Kureishi Writer Your ...
Seite 2
... characters she knew struggling to survive in the city have sur- faced in her just - completed book of stories . It's the latest in a twenty - year writing career that spans journalism and award - winning dramas for tele- vision . In ...
... characters she knew struggling to survive in the city have sur- faced in her just - completed book of stories . It's the latest in a twenty - year writing career that spans journalism and award - winning dramas for tele- vision . In ...
Seite 4
... character , to what they want and need . . . . You follow your intuition , but you also want to know and follow your craft be- cause making a movie is like being an archaeologist - you've got to dig out what's been buried , the ...
... character , to what they want and need . . . . You follow your intuition , but you also want to know and follow your craft be- cause making a movie is like being an archaeologist - you've got to dig out what's been buried , the ...
Inhalt
1 | |
one introspection | 17 |
two inquiry | 47 |
three intuition | 71 |
four interaction | 93 |
five impact | 117 |
six workouts | 149 |
Endnotes | 167 |
Selected Filmographies | 173 |
Suggested Reading | 187 |
Index | 193 |
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Häufige Begriffe und Wortgruppen
Academy Award Nomination actor American Anthony Minghella artists audience Best Boys Don't Cry Brandon British Academy camera characters Cinematographer collaborative Composer Conrad Hall create creative filmmaking creative process described develop director dream editing Editor and Sound Embedded Values Emmy Award emotional English Patient Executive Producer experience feel filmmakers footage going Hanif Kureishi happen ideas images impact interaction interview introspection intuition Ismail Merchant James Newton Howard Jeannine Oppewall John Lasseter Kate Amend Kathy Baker Kimberly Peirce kind Lisa Fruchtman look mind nonconscious Pamela Douglas play Production Designer Renee Tajima-Peña resonance response role scene screen screenplay screenwriter script sense shooting Sound Rerecording Mixer specific story studio talk tell theme there's things tion told TV movie TV series undercurrent University of Southern violence visual Walter Murch watch what's workout write writer-director York