#5609 Kanon at høre! Det er nøjagtig min egen oplevelse. Jeg tror det er den første og måske eneste film om kølvandet på krigen, hvor man får skildret soldaternes vilkår som det var og deres traumer. William Wylers aktive "indblanding" i skildringen af krigen, bl.a. med Memphis Belle tror jeg har haft stor indflydelse på den realistiske tilgang.
Den vandt bedste film Oscar og slog It's a Wonderful Life. Og ja, det var sgu fuldt fortjent. Kæmpe mesterværk!
Alle har et fradrag, Helle hun har to ... Helle ... havets tournedos
#5609 Sjov info om Wyler. Han var en hård instruktør :) :
Though Wyler elicited some of the finest performances preserved on film, ironically he could not communicate what he wanted to an actor. A perfectionist, he became known as "40-Take Wyler", shooting a scene over and over again until the actors played it the way he wanted. With his use of long takes, actors were forced to act within each take as their performances would not be covered in the cutting room. His long takes and lack of cutting slowed down the pacing of his films, providing a greater feeling of continuity within each scene and intimately involving the audience in the development of the drama. The story in a Wyler film was allowed to unfold organically, with no tricky editing to cover up holes in the script or to compensate for an inadequate performance. Wyler typically rehearsed his actors for two weeks before the beginning of principal photography.
While more actors won Academy Awards in Wyler movies, 14 out of a total of 36 nominations (more than any other two directors combined), few actors worked more than once or twice with him. Bette Davis worked on three films with him and won Academy Award nominations for each performance and an Oscar for "Jezebel." On their last collaboration, "The Little Foxes" (1941), Davis walked off the production for two weeks after clashing with Wyler over how her character should be played.
He proved hard on other experienced actors, such as Laurence Olivier in "Wuthering Heights," who gave credit to Willi for turning him from a stage actor into a movie actor. "This isn't the Opera House in Manchester," Wyler told Olivier, his way of conveying that he should tone down his performance. A year earlier, Wyler had forced Henry Fonda through 40 takes on the set of "Jezebel," Wyler's only direction being "Again" after each repeated take. When Fonda demanded some input on what he was doing wrong, Wyler replied only: "It stinks. Do it again." According to Charlton Heston, Wyler approached him early in the shooting of Ben-Hur (1959) and told him that his performance was inadequate. When a dismayed Heston asked him what he should do, "Be better" is all that Wyler could supply. In his autobiography, Elia Kazan, a famed "actor's director", tells how he offered advice to an actor acquaintance of his who was making a Wyler picture as he knew that the great director was inarticulate about acting and would be unable to give advice.
Wyler believed that after many takes, actors got angry and began to shed their preconceived ideas about acting in general and the part in particular. Stripped of these notions, actors were able to play at a truer level. It is a process that Stanley Kubrick would subsequently use on his post-2001: A Space Odyssey (1968) films, though to different results, creating an otherworldly anti-realism rather than the more naturalistic truth of a Wyler movie performance. Wyler's method often meant that his films went over schedule and over budget, but he got results. The performances in Wyler films are part of this craftsman's consummate skill for injecting thoughtfulness into his movies while avoiding sentimentality and pandering to the audience. A Wyler film demands that his audience, like his actors, become intelligent collaborators of his.
Alle har et fradrag, Helle hun har to ... Helle ... havets tournedos
His long takes and lack of cutting slowed down the pacing of his films, providing a greater feeling of continuity within each scene and intimately involving the audience in the development of the drama.
Hovedet på sømmet! Det er især tydeligt i scenen, hvor Al Stephenson og Fred Derry har en sammentale vedrørende datteren Peggy. Det er minimal grad af klipning og panorering, der gør denne scene så troværdig og engagerende. Skuespillere præsterer røven ud af bukserne. :)
#5614 Helt enig! Jeg har lige fået en forfærdelig lyst til at gense denne :) Den må godt snart komme på BD :) Apropos skuespils præstation og minimal grad af klipning, fik du set dette klip? Preston Sturges kunne i den grad også få sine skuespillere til at præstere:
#5611 Skeloboy 14 år siden
Det var planen, jeg skulle se Offret i dag, men er ret så ramt af weekenden, så det bliver noget lettere tilgængeligt...
Så det bliver Hiroshima - miniserien fra 1995
#5612 Bruce 14 år siden
Den vandt bedste film Oscar og slog It's a Wonderful Life. Og ja, det var sgu fuldt fortjent. Kæmpe mesterværk!
#5613 Bruce 14 år siden
Though Wyler elicited some of the finest performances preserved on film, ironically he could not communicate what he wanted to an actor. A perfectionist, he became known as "40-Take Wyler", shooting a scene over and over again until the actors played it the way he wanted. With his use of long takes, actors were forced to act within each take as their performances would not be covered in the cutting room. His long takes and lack of cutting slowed down the pacing of his films, providing a greater feeling of continuity within each scene and intimately involving the audience in the development of the drama. The story in a Wyler film was allowed to unfold organically, with no tricky editing to cover up holes in the script or to compensate for an inadequate performance. Wyler typically rehearsed his actors for two weeks before the beginning of principal photography.
While more actors won Academy Awards in Wyler movies, 14 out of a total of 36 nominations (more than any other two directors combined), few actors worked more than once or twice with him. Bette Davis worked on three films with him and won Academy Award nominations for each performance and an Oscar for "Jezebel." On their last collaboration, "The Little Foxes" (1941), Davis walked off the production for two weeks after clashing with Wyler over how her character should be played.
He proved hard on other experienced actors, such as Laurence Olivier in "Wuthering Heights," who gave credit to Willi for turning him from a stage actor into a movie actor. "This isn't the Opera House in Manchester," Wyler told Olivier, his way of conveying that he should tone down his performance. A year earlier, Wyler had forced Henry Fonda through 40 takes on the set of "Jezebel," Wyler's only direction being "Again" after each repeated take. When Fonda demanded some input on what he was doing wrong, Wyler replied only: "It stinks. Do it again." According to Charlton Heston, Wyler approached him early in the shooting of Ben-Hur (1959) and told him that his performance was inadequate. When a dismayed Heston asked him what he should do, "Be better" is all that Wyler could supply. In his autobiography, Elia Kazan, a famed "actor's director", tells how he offered advice to an actor acquaintance of his who was making a Wyler picture as he knew that the great director was inarticulate about acting and would be unable to give advice.
Wyler believed that after many takes, actors got angry and began to shed their preconceived ideas about acting in general and the part in particular. Stripped of these notions, actors were able to play at a truer level. It is a process that Stanley Kubrick would subsequently use on his post-2001: A Space Odyssey (1968) films, though to different results, creating an otherworldly anti-realism rather than the more naturalistic truth of a Wyler movie performance. Wyler's method often meant that his films went over schedule and over budget, but he got results. The performances in Wyler films are part of this craftsman's consummate skill for injecting thoughtfulness into his movies while avoiding sentimentality and pandering to the audience. A Wyler film demands that his audience, like his actors, become intelligent collaborators of his.
#5614 IK 14 år siden
Hovedet på sømmet! Det er især tydeligt i scenen, hvor Al Stephenson og Fred Derry har en sammentale vedrørende datteren Peggy. Det er minimal grad af klipning og panorering, der gør denne scene så troværdig og engagerende. Skuespillere præsterer røven ud af bukserne. :)
#5615 Bruce 14 år siden
http://movieclips.com/Yqv9-sullivans-travels-movie...
#5616 IK 14 år siden
Første gang jeg ser det. Herligt klip og jeg tvivler stærkt på at det skete ved første optagelse. :)
#5617 Bruce 14 år siden
#5618 Kruse 14 år siden
#5619 Skeloboy 14 år siden
#5620 Muldgraver 14 år siden