From the University of Southern California's School of Cinema-Television, the ultimate insider's guide, full of invaluable information for anyone interested in the creative process. David Landau ably negotiated the licenses and releases for the photos in the book. 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. Steve Carr, Geoff Cowan, Bill Dill, Deborah Fort, Chap Freeman, Meg Moritz and George Stoney participated in developing an even earlier proposal for what would have been a very different book—although that project did not materialize, the process provided intellectual and emotional momentum that led to this one. Our own understanding of this process has come from more than thirty-five years of collective experience as teachers and mentors for literally thousands of student productions, and is also grounded in our work as active professional filmmakers—writers, producers, directors and editors of both fiction and documentary films. Introduction This is a book about the creative process of filmmaking -- the mysterious transformation of mere glimmers of thought into coherent stories, characters, images and sounds. You may be in the middle of research inquiry and have a provocative dream intuition.
Aspiring directors could enjoy reading about ways other artists perceive the role of a director. Doe wishes to thank her extended family but especially her parents, Janet and Michael, for their constant interest, enthusiasm and support for this book throughout its various incarnations. We are very fortunate to have had outstanding student researchers. You can then bring that clarity to your collaborations with fellow filmmakers, to interpreting the responses of audiences, and to wrestling with your responsibilities as a creator of powerful art, without losing your way or diluting the integrity of your intent. Much of the success of interaction depends on establishing a genuinely open creative environment, insulated as much as possible from outside commercial forces. But the more they have learned to work from their own distinctive taste and point of view, the better they will be able to hold on to those qualities through all the stages and pressures of the production process. Our Critical Studies colleagues Marsha Kinder, David James and Michael Renov advised and guided us at an early stage.
Although these professionals had been interviewed many times before, we set out to get a different perspective, choosing not to cover such familiar ground as working with movie stars, the technology of special effects, or anecdotal production stories ten straight days of rain. By clicking 'Sign me up' I acknowledge that I have read and agree to the and , and the transfer of my personal data to the United States, where the privacy laws may be different than those in my country of residence. I don't consider that a limitation but rather a strength. This book is a must for anyone making films or teaching the filmmaking process. Creative Filmmaking From the Inside Out stresses the inner workings, motivations and artistic sensibilities of people who are passionate about film. Teachers using this book in classes and workshops, as well as individual readers, may wish to refer to our website, creativefilmmaking. Confidential, Picket Fences, The Remains of the Day, The Right Stuff, The Sixth Sense, Toy Story, The West Wing and many others.
Creative Filmmaking challenges you to think before you shoot. Finally, we looked for filmmakers who are passionate and enthusiastic. Instead, we asked them to focus on their own creative process, and to give us concrete examples of why they approached specific scenes, sequences, characters, locations, and visual, sound or music motifs in the way they did. Jed would like to thank Bob Friedman for his mentoring; Laura Davis, the ideal creative orchestrator-collaborator; Cecilia Woloch for her friendship and advice; and his sister Liz Dannenbaum for love, encouragement and being there when it counts. These limberings are just that—ways to loosen up and get your creative juices flowing. This practical, illuminating and inspiring book will become a foundation text in film schools around the world. George Stoney Professor of Film and Television, Tisch School of the Arts, New York University Creative Filmmaking is entirely fresh and different and welcomed.
Writer Hanif Kureishi, writer-director Anthony Minghella, writer-director Kimberly Peirce, producer Ismail Merchant, production designer Jeannine Oppewall, cinematographer Conrad Hall, editor Lisa Fruchtman, sound designer and film editor Walter Murch and composer James Newton Howard have all worked primarily in live-action features, and writerproducer director John Lasseter is known for feature animation. Our own understanding of this process has come from more than thirty-five years of collective experience as teachers and mentors for literally thousands of student productions, and is also grounded in our work as active professional filmmakers -- writers, producers, directors and editors of both fiction and documentary films. You may start with an idea of what a film is really about impact , but find that your idea changes and develops throughout the filmmaking process. Instead, we asked them to focus on their own creative process, and to give us concrete examples of why they approached specific scenes, sequences, characters, locations, and visual, sound or music motifs in the way they did. We wrote a book that we ourselves learned a great deal from, and we believe that it will have rewards for anyone working in the field. Which is not to say that it isn't also practical. About the Book: Five keys to creating authentic, distinctive work, whether you are a student, professional or simply love making films on your own.
We teach in a film school and see its great value in providing structure, contact with diverse tastes and approaches, a collaborative environment, a wide range of hands-on experience, faculty mentoring and many other benefits. In addition to working from our own experience, we need as filmmakers to be able to draw on the entire spectrum of human thought and behavior, including those facets we have not yet directly encountered. Whatever the results, you will have a much better internal gauge for assessing and learning from each experience as you move on to your next creative project. We have written this book to be appropriate for those learning filmmaking on their own as well as for students in a production class or program. Film is a profoundly collaborative art, and through Interaction we can draw effectively on the ideas and responses of others.
It's all in the title. Intuition is neither guesswork nor supernatural insight—it is dependable in proportion to the extent that we have prepared ourselves well through education, observation, research and life experience. 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. Another way this book is unique is that everything in it is applicable to every creative role at every stage of the filmmaking process. They areall introduced in The Filmmakers, and their major credits and awards are listed in Selected Filmographies. Throughout this book, we encourage a certain level of conscious self-awareness and intentionality in filmmaking, but the probing and thoughtful explorations we describe are antithetical to approaches that over-systematize or over-intellectualize the essential emotionality and unpredictability of art. This final section gives you explorations of greater depth that will connect to any current film project you may be working on.
Good filmmaking is passionate and risk-taking. Their candid advice goes beyond the usual anecdotes to offer readers an in-depth lesson in 'the five I's': Introspection, Inquiry, Intuition, Interaction and Impact. It draws on the expertise of 15 top active film professionals, including director Anthony Minghella, production designer Jeannine Oppenwall and writer-director-animator John Lasseter. In addition to their remarkable range of background and experience, why did we choose this particular group of filmmakers? In Inquiry, we see the importance of having a broad knowledge of the other arts and diverse fields of knowledge; the value of seeking direct firsthand experience of the world of a story; and the need for research, looking deeply into a subject, a setting, a culture, or an era in a way that enriches our understanding and point of view. Our filmmakers show how collaboration can be an open, fluid process that allows for the integration of many voices, with the director serving as the orchestrator of these varied contributions. So, assuming you share something of our taste and want to make films that are inspired, original and resonant, what's the foolproof, surefire formula for great filmmaking? The ultimate goal of this book is to help you attune your mind to the unexpected truths of your heart and gut.
Yet what you can learn, and what we emphasize in this book, is how best to prepare yourself, and how to approach your work, so that your inherent creativity has the greatest opportunity to emerge and flourish. There are, of course, filmmakers who willingly embrace the often dismal commercialism and synthetic filmmaking that seems to dominate Hollywood. This practical, illuminating and inspiring book will become a foundation text in film schools around the world. . Creative Filmmaking from the Inside Out describes an approach that begins with preparation that is largely individual and internal—recognizing and strengthening your own unique point of view. Throughout this book, we encourage a certain level of conscious self-awareness and intentionality in filmmaking, but the probing and thoughtful explorations we describe are antithetical to approaches that over-systematize or over-intellectualize the essential emotionality and unpredictability of art. In the fifth chapter, we look at how we create films that have an Impact on an audience.