(Post 34) Planning- Directorial Style
For example, Wes Anderson the director of Moonrise Kingdom, The Royal Tenenbaums, and The Grand Budapest Hotel, has a distinct colour palette that links everything from a the production design to the outfits. His frames are known to be kept stationary, preferably in straight-on fashion making the shots feel as if they are part of a painting which most directors usually avoid because it prevents the scene from taking on a three-dimensional feel.
David Fincher, the director of films such as Gone Girl and Fight Club, integrates impossible camera angles and transitions such as in the Fight Club opening scene into his storytelling which adds to the films impact. He doesn't like hand-held camera shots for the most part. According to him, the camera does not have any personality and hence the movie shouldn't include camera shake unless absolutely essential. His unique style of experimenting with the styles of cinematography makes him one of the most popular directors today.
Quentin Tarantino who directed films such as Pulp Fiction, Kill Bill and Inglorious Bastards has a trademark style which arises from his talent for dialogue, which may be uncommon in modern film. His work is most known for use of long tracking shots and crane shots which track above characters, as well as the patented “trunk shot,” in which the camera is placed at a low angle with the characters looking downwards, towering over the shot.
After looking at and researching the directors mentioned above, Terrence Malick turned out to be a great inspiration for our music video. He has only made five films in the past four decades and all of his work shares stunning visuals, powerful themes and dramatic realism. He turns the every day into an almost scary experience of the world that is both familiar and yet so much more gorgeous and strange than what we see in our day-to-day lives. He shows not the world as we experience it in time, but the world as it looks to eternity, and the inspiration for his work rises from humans being caught up in their lives to see the majesty of their environment contemplating how humans fit into the natural landscape. His films are a kind of silent cinema of reverence to nature and the human activities that blind his characters to the environments that surrounds them.
'His films are all very connected with each other and very recognizably his work. But it’s very tough to put your finger on why that is or what you’re seeing in that the technique is not immediately obvious.' - Christopher Nolan, In a conversation about 'The Tree of Life'
Alfonso Cuarón who directed movies such as Gravity and Harry Potter and the Prisoner of Azkaban has an amazing ability to match subject and aesthetic using his signature long takes which are prolonged and uninterrupted shots.
Terrence Malick only worked on a handful of movies, but at the age of 70 he is working on many more projects than he was before. His films such as The tree of life and The thin red line can often be distinguished by their use of natural light, handheld footage, muted colours, and a focus on stories in the Midwest. His work almost always involves a heavy use of voiceover narration, sometimes by multiple characters. Malick’s movies often dwell on the struggle between man and nature shooting an enormous amount of footage during the hour before sunset and sunrise.
Terrence Malick only worked on a handful of movies, but at the age of 70 he is working on many more projects than he was before. His films such as The tree of life and The thin red line can often be distinguished by their use of natural light, handheld footage, muted colours, and a focus on stories in the Midwest. His work almost always involves a heavy use of voiceover narration, sometimes by multiple characters. Malick’s movies often dwell on the struggle between man and nature shooting an enormous amount of footage during the hour before sunset and sunrise.
After looking at and researching the directors mentioned above, Terrence Malick turned out to be a great inspiration for our music video. He has only made five films in the past four decades and all of his work shares stunning visuals, powerful themes and dramatic realism. He turns the every day into an almost scary experience of the world that is both familiar and yet so much more gorgeous and strange than what we see in our day-to-day lives. He shows not the world as we experience it in time, but the world as it looks to eternity, and the inspiration for his work rises from humans being caught up in their lives to see the majesty of their environment contemplating how humans fit into the natural landscape. His films are a kind of silent cinema of reverence to nature and the human activities that blind his characters to the environments that surrounds them.
'His films are all very connected with each other and very recognizably his work. But it’s very tough to put your finger on why that is or what you’re seeing in that the technique is not immediately obvious.' - Christopher Nolan, In a conversation about 'The Tree of Life'
Some of his main directing styles which make his work so unique are:
1. Shooting during magic hour
2. Wide-angle handheld
5. Whispering existential nothing 1. Shooting during magic hour
2. Wide-angle handheld
Malick got rid of the set two-shots and conversational cut-between seen in most narrative formats and changed to wandering wide-angle camera that constantly circles around subjects as they wander through the film.
3. Close-up of hands
4. Cutaway inserts of Nature
Malick seemingly has never passed up any opportunity to break from filming movie stars to shoot scenic inserts of nature in its beauty such as light through tree branches.
Most of his movies include characters from whispering monologues often circled while lightly touching a tree branch in natural light.
In contrast, high-angle shots are used to make characters look vulnerable and less powerful. This angle could be useful for scenes where the dad of the three children occurs in our music video. It will help us demonstrate his power over the children which will explain the children's need to escape their home and explore their environment.
Similar as to (Post 22) Forms and Conventions I chose some of Terrence Malick's movies scenes which I find inspiring and could have an impact on our music video. Malick's focus on nature and humans and how the two interact is a similar focus to our music video. The characters in our music video use the nature and environment around them to escape their everyday life and Malick's approach to directing his films are a huge inspiration to the way we'll approach our music video.
Another director who could influence our directorial style is Steven Spielberg. He shoots some of his movie scenes (ET, Schindler List) from a low angle in order to make the audience relate to the child characters. These low-angle shots emulate a child's natural eye-line, so the audience sees what the child sees. This could be a useful approach for any scenes of the little boy in our music video.
In contrast, high-angle shots are used to make characters look vulnerable and less powerful. This angle could be useful for scenes where the dad of the three children occurs in our music video. It will help us demonstrate his power over the children which will explain the children's need to escape their home and explore their environment.
- Any inspiration from the director you previously research and made a documentary about
Comments
Post a Comment