MORE FAVES FROM MY NOTEBOOK Didn’t have room in my book..
1.DECONSTRUCTION After your first cut, watch it m.o.s. on fast-forward. Your mind fills in context as the narrative returns to outline form.Cut one prosaic scene and juxtapose two good ones. Watch your movie take flight.
2. SELF-DETERMINATION Even a polished script can’t anticipate the vagaries of entropy, the volatility of actors, in a process dictated by time and money. The hardest thing to admit is that control is an illusion. Once you’re shooting, the movie will decide what it wants to be.
3. THE NIGHT BEFORE Great athletes learn to previz. You can do the same. Shoot the movie in your head. Learn every beat. Then when it all goes wrong, as it inevitably will, you won’t panic because you’ll know what you need.
4. OBSTACLES, OBSTACLES They turn ordinary moments into extraordinary drama. Emotional obstacles are even better. Ask actors to discover what is epic in ordinary behavior. If an actor doesn’t discover something in his work, nobody else will. You get what you settle for.
5. RELATIVITY The director “killed” it; the movie “bombed;” it “died” at the box office. An artist who worries about taking ‘risks’ is insulting the teachers in underfunded schools, the nurses in the Covid ward, and the soldiers on the front lines. Get over yourself! 唉唷我好喜歡他
6. ELAINE MAY claimed there are only three kinds of scenes – fights, seductions, and negotiations. And when in doubt, seduce.” Comedy is simply a funny way of being serious. No movie can be funny enough.
7. THE DIRECTOR AS A.D. Timing your day is an art and a science. Learn how long it takes to pull a wall. Be ready for the actors when they walk on set. They’re racehorses in the gate, ready to run. You don’t want them to peak in their trailer.
8. EQUALITY A woman director will never be equal to a man until she can unselfconsciously wear over-size board shorts, grow a stubbly beard, over-explain everything, and date someone thirty years younger. 完全在自嘲男
1. DIRECTING: THE AGONY & THE ECSTASY Tom was determined to fight four men without a double. A stuntman messed up the sequence and swung a metal sword at his neck. It would have been fatal had Tom not reacted instinctively. Saved his own life. And the movie. And my career. 🧵 阿湯堅持要四個人戰鬥畫面自己來不用替身，然後有個特技演員打亂了這個場面且用金屬的劍指向阿湯的脖子，如同當下阿湯沒有本能做出反應閃避的話，會出人命ㄉ。
THE SCREENWRITER’S FIVE STAGES OF GRIEF:
(with apologies to Elisabeth Kubler-Ross)
STAGE 1: DENIAL
“The studio is going to love this draft!”
導演還有導：真愛一世情/火線勇氣/愛情藥不藥/血鑽石/神隱任務：永不回頭
“The studio’s notes are bullshit.”
“Maybe if I do a few of their notes, they’ll be happy...”
“I hear they’re hiring another writer.”
“At least I’ll get shared credit.”
(From my new book...available for pre-sale)
Didn’t have room in my book..
1.DECONSTRUCTION
After your first cut, watch it m.o.s. on fast-forward. Your mind fills in context as the narrative returns to outline form.Cut one prosaic scene and juxtapose two good ones. Watch your movie take flight.
Even a polished script can’t anticipate the vagaries of entropy, the volatility of actors, in a process dictated by time and money. The hardest thing to admit is that control is an illusion. Once you’re shooting, the movie will decide what it wants to be.
Great athletes learn to previz. You can do the same. Shoot the movie in your head. Learn every beat. Then when it all goes wrong, as it inevitably will, you won’t panic because you’ll know what you need.
They turn ordinary moments into extraordinary drama. Emotional obstacles are even better. Ask actors to discover what is epic in ordinary behavior. If an actor doesn’t discover something in his work, nobody else will. You get what you settle for.
The director “killed” it; the movie “bombed;” it “died” at the box office. An artist who worries about taking ‘risks’ is insulting the teachers in underfunded schools, the nurses in the Covid ward, and the soldiers on the front lines. Get over yourself!
唉唷我好喜歡他
claimed there are only three kinds of scenes – fights, seductions, and negotiations. And when in doubt, seduce.” Comedy is simply a funny way of being serious. No movie can be funny enough.
Timing your day is an art and a science. Learn how long it takes to pull a wall. Be ready for the actors when they walk on set. They’re racehorses in the gate, ready to run. You don’t want them to peak in their trailer.
A woman director will never be equal to a man until she can unselfconsciously wear over-size board shorts, grow a stubbly beard, over-explain everything, and date someone thirty years younger.
完全在自嘲男Tom was determined to fight four men without a double. A stuntman messed up the sequence and swung a metal sword at his neck. It would have been fatal had Tom not reacted instinctively. Saved his own life. And the movie. And my career. 🧵
阿湯堅持要四個人戰鬥畫面自己來不用替身，然後有個特技演員打亂了這個場面且用金屬的劍指向阿湯的脖子，如同當下阿湯沒有本能做出反應閃避的話，會出人命ㄉ。
還救了這部電影。
還有我的職業生涯。
...
導演...打書...很認真唷