On this channel you'll find excerpts of commentaries from various films; from David Fincher to Scorsese to foreign filmmakers, Kurosawa, Fellini, Goddard, Kubrick film scholars and various other filmmakers from every spectrum of the medium. What you will find is some of these excerpts to be cross-referenced with other films OR commentary excerpts to greater ENHANCE the understanding of a particular concept or idea. Sometimes you'll find a download link to a screen-specific version of the audio/visual I've put together, in case youtube blocks it worldwide. This is a place where I collect only the most insightful cinematic information + advice that I deem valuable. Nobody is doing this anywhere but here. So join me in learning all things CINEMA. - contact me on twitter.com/digifruitella
A lot of bull shit... Why would you do that??? Just why??? He deserves every inch of criticis he got. The fact that he is trying to spin it as an "experiement" is even more irritating
Translation: “I was coming off of a huge professional high, I decided to subvert expectations by making a jerk-off project. I had carte blanche to do whatever I wanted and what I wanted was to remake a classic film that didn’t ever need to be remade.”
Remakes suck big time!! No matter what they'd say about them, is like raping the original piece. Hollywood needs to make new stuff. There are a pletora of stories. The thing is, they don't want to risk. They go for the same formula over and over. At the end, people who actually go to see remakes are the responsibles for their existence.
Since there are few people who are asking, Mamet, Ricky Jay and William H.Macy are discussing the movie "House of Games" in a first part of conversation. I'd love to hear the entire discussion........
This may seem really strange, but that first minute of commentary really shocked me. I'm currently in business school and I really feel out of place. A lot of the people I talk to in my program seem fine with going down the regular route of life. Get a decent job, work 9-5, have a family, retire, die... But I really want to do something different, I feel like there are endless opportunities and I for one feel a growing passion for film, I spend more time researching movies and film-making fundamentals as opposed to studying for Economics. I need to work hard to push my limits and do what I want with my short time on this Earth. Richard Linklater, you understand me without even knowing me.
i just wish there was a club for like minded individuals on filmmaking. :/ im debating on whether i should go to film school or not. i live in LA and can apply for LAFS just that i feel i wont really need it considering i freakin love the ideas i have for film. so going to film school would be just for the connection thing, meeting like minded people who are willing to help out or even i can help with.
Film school would be a good ground for making connections, sure. Any place where there are like-minded individuals is better than trying to find those connections. I think in that regard film school is a perfect place. You can always go for a semester and 'feel it out' in terms of the education you're getting or the people you're meeting. Then bounce. You don't have to always stay if it's not for you.
***** thanks yeah i decided i am going to film school to get the feels, picking up lingo used in the film industry would be great. especially when i need to communicate ideas to others honestly i was worried that i would be taught a "formal" way to make films in film school and it would like kill my creativity. but now i feel like it would be really cool to bounce off ideas with other people who aspire to the same. :)
EeveeFall I feel you so much on this. I really feel like I can do what I love without having to go to school for it, because it's been my passion since I was a child. I had applied for two colleges at different points in the year, and even though I was accepted in both of them I refused to go because I had felt like I truly didn't need film school; and I've felt that way for the longest time, way before graduating High School.
If film school isn't for you, maybe consider starting your own film club. All you need is advertise on film forums (similar to shootingpeople.org) for likeminded people, meet up informally in a public place like a restaurant or a park (if the weather holds up). That way you don't invite potentially dodgy strangers into your home and maybe make new friends/colleagues. There must be loads of people who'd love to do all aspects of film making...?
You really don't need to goto film school to even do DP/Cinematography work because equipment is always changing(From 4K to 6K). But I will say that not everybody can direct, shoot, act or even write. If that were the case everybody would be working in HollyWood making millions of dollars. I learned from my buddy Lloyd Kaufman who's been doing this for 40 years now, and let's face it if you know who he is a lot of his films aren't the greatest but he does take it very seriously, that's why he's lasted so long. Ask James Gunn(Director of Guarding's of the Galaxy) who Lloyd Kaufman is, he's a fellow graduate of Lloyd's. So as much as I respect Smith's work, what he stated about directing or writing is faulse. Not everybody can draw or paint, same deal, not everybody can make films. The best thing about film school though is what he stated(And I'll agree with) is that its great for networking.
Cinematography is about a lot more then just the camera. Lighting is a large part of it, and in film school they have a bunch of lights you can practice with, along with a bunch of high quality gear to use in your projects that would cost you hundreds of dollars per day to rent. That is a big part of the value of film school, particularly if you are interested in cinematography.
When he says 8 week writing process, I wonder if he's talking about writing the first draft or multiple drafts in that time period. If he's talking about multiple drafts, then this guy is insane. I couldn't imagine writing 2 or 3 drafts of a script in 8 weeks.
I have to disagree with Linklater when he says there are no "prodigy filmmakers". Has he not heard of filmmakers like Chaplin, DeMille, or Billy Wilder who knew their audience and knew how to entertain so well that they never failed production?
Obviously, Linklater has heard of those filmmakers. Before becoming a writer and director, he was a cinephile who founded The Austin Film Society, and watched 700 films a year. There are very few "prodigy" directors in the history of cinema (Chaplin, DeMille and Billy Wilder aren't in that group). One of those few prodigies was Orson Welles, who made Citizen Kane when he was 24 years old. And Linklater knows it very well. He actually made a very good movie about him (Me and Orson Welles).
- Lovely series, this 'filmschoolcomments', but you should add somewhere in the info section what film this is from and what year. Keep up the nice work!
It`s not what you know, but who you know that counts. Don`t believe the film school hype! Go to a film co-op or volunteer at local cable station. Gain valuable work experience, instead of going into debt. Working for free another waste of time.
Prospective film-media students beware. Don`t believe the hype about diploma qualifications. The industry doesn`t give a toss, plenty of qualified grads, fishing for work. Self producing, & experience superior to degrees. `Its not what you know, but who you know that counts``
If nothing else, film school is an opportunity to focus on developing your perspective. Some people don't need the structure of a school to do that, but some do.
Hey guys sorry for posting here...can you tell me some books i can read for directing or a link where i can find some?and some books about camera and understanding it....?please
***** The Hughes Brothers were 20 when they made Menace II Society - the youngest to date in terms of mainstream filmmaking, for a major studio. Also a financial success in terms of box office which gave them a career. I'd call that pretty damn "prodigy" when it concerns filmmaking. Obviously the first great prodigy was Welles though.
So I'm curious what you mean by a stretch... what is your definition of a prodigy filmmaker then? Because if we're going by age, pretty much anyone in their early to mid 20's is considered a prodigy filmmaker as the median age of a first filmmaker is about 35. Filmmaking is not an easy medium to grasp and do WELL. Therefore if you are 20 and you've made a pretty decent film, nevermind the fact it's also for a studio AND successful... that pretty much fills the criteria of a "prodigy filmmaker" in my book.
***** Yes I'm quite aware of Linklater's comment. I was responding to your posts and your comments on a "stretch". I'm sure you were going off the standard definition of a prodigy coupled with Linklater's comment... but we have to make a distinction here. Chess or music prodigies vs craft based occupations - which filmmaking clearly falls into. Therefore, chances of a 5, or 10 year old filmmaker are slim to none as the set of criteria to meet in filmmaking are vastly more difficult than that of a chess player or an instrumentalist musician. Which, while still difficult and complex are way easier to accomplish or grasp than filmmaking. Which is by its very nature, collaboration, technology, philosophy, literature dependant. Which require vast amounts of time and practice to grasp. So in that regard if Linklater is responding to the classic definition of a "prodigy" he is correct. But if you look at it from a slightly different perspective - where you take into account all the distinctions I've mentioned... then someone who's 20 for instance and makes their first film, a good, successful film as well - is definitely a prodigy filmmaker, WITHIN the context of that world. But NOT a prodigy in the classical sense, because it's virtually unrealistic and impossible.
