I'm always moving forward.
From Debbie Allen
But out of limitations comes creativity.
It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.
The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.
You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?
It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.
In scoring we have a lot that was not evident in the shooting. The radio is on all the time.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.
There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.
3 perspectives
2 perspectives
1 perspectives