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From one of America's most acclaimed directors comes a book that is both a professional memoir and a definitive guide to the art, craft, and business of the motion picture. Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.
missing, however. The character’s not alive. I don’t want life reproduced up there on the screen. I want life created. The difference lies in the degree of the actor’s personal revelation. I mentioned earlier how much I admire what Paul Newman has done with his life. He is an honorable man. He is also a very private man. We had worked together in television in the early fifties and done a brief scene together in a Martin Luther King documentary, so when we got together on The Verdict, we were
mm) as wide-angle lenses, and to those from 75 mm on up as long lenses. I hope I can help make this clear with the following drawings: The distance from where the image reverses itself to the recording surface (the film) is what determines the millimeter count of the lens. In drawing A, notice how much more room there is above and below the photographed object than in drawing B. The 35 mm lens (A) takes in a significantly larger area than the 75 mm lens (B). The wider-angle lens (35 mm) has
Pacino made me love him, not the scripted character. The Seagull is totally ambivalent about behavior. Everyone is in love with the wrong person. The teacher Medvedenko loves Masha who loves Konstantin who loves Nina who loves Trigorin who belongs to Arkadina who is really loved by Dr. Dorn who is loved by Paulina. But none of this prevents them each from having their own dignity and pathos, despite their seeming foolishness. The ambivalence is a source of exploring each character in greater and
is in rough shape, the editor usually sits in the back, “riding the pot” (using a volume control to increase low dialogue sections or lower loud ones). Sometimes, if there are long, silent sections, we put in a temporary music track taken off a commercial recording. As usual, I’m there early. Members of the brain trust are never late. They have changed over the years. Faith and John Hubley used to come. And Bob Fosse. And Robert Alan Arthur. Phyllis Newman comes. And Herb Gardner. Betty Comden
the first cut. Now I will go back into the cutting room and start to reedit. Some of those dialogue lines I didn’t like get cut out. Sometimes a whole scene gets removed. Sometimes four, five scenes, a whole reel, get deleted. (It got clear sooner.) Something was dragging in reels 4, 5, 6, 7. Forty minutes of dragging. That’s serious. Maybe if we can rearrange some elements, reconstruct a bit. Let this character’s story start a little sooner. That helps revive interest. This performance is so