Part 8 of Ridley Scott’s thoughts on cinema and filmmaking. Remember, it’s all about intuition.
In the second part of this rare track, Ridley brings you the goods one more time on filming inside cars, Washington, D.C., differences between anamorphic widescreen and Super 35, continuity logistics, working with cameramen, having a vision, editing process, directing process, rehearsal with actors.
If you missed it, watch Part I below
A rare commentary track from Ridley Scott in which the man gives his usual in depth and informative discussion on the craft of filmmaking. He covers such topics as casting, directing, camera operating, editing. I’m never disappointed in his tracks as they’re filled with quite a bit of information you’d always like to hear about if you’re making films yourself or are involved in any aspect of the craft.
I’ve been waiting quite a few months now just to include Ridley’s comments on shot sizes, but I waited because I wanted to supplement it with another filmmaker’s comments on the same topic. I’ve finally come across just that – courtesy of Alex Proyas (The Crow, Dark City) – we now have two filmmakers commenting on constructing a visual narrative through shot sizes. It’s a topic I’m personally extremely interested it and have studied at great length and continue to on a daily basis. It is a very important aspect of the cinematic language that one must have a solid grasp on. It can be complex in the beginning, but once one grasps it, it becomes much easier to tell a story visually.
There’s still many more to come of Ridley Scott’s take and process on filmmaking. In this particular segment, there’s more in depth discussions about the mood and atmosphere of a film, the characters within that world. A ground that is more cynical and more a reflection of real life. Ridley also talks about the line in filmmaking that’s tricky – going over the top, or the sentimental route.
The information doesn’t stop, does it? 😉 – more music (or information, whichever way you take it) for your ears, folks – from the great Sir Ridley Scott. The Master. Learn what Rid has to say about sound design, casting, Jan De Bont, operating, adjusting actors on set, rehearsing, media, his love for design and architecture, self respect, lighting, editing, and yeah – how can he not mention using smoke that Brit Git. 😛