Develop Charisma and Become More Likable
It doesn't quite seem fair that while most of us endeavor to be hard-working, polite, tolerant, honorable, reliable and pleasant, others are allowed to exhibit the worst behavior imaginable. But unfortunately, that's the way the show biz cookie crumbles. If you have a proven track record of successes, a creative brilliance that's always in demand, a certain status or the ability to generate mega bucks or mega ratings, you pretty much get a free pass when it comes to conduct. I'm not suggesting that all power players are nasty, sleazy, back-stabbing, abusive, ego-driven, intimidating game-players. In fact, some are the best people you'll ever meet. I just want to point out that it's okay for some to act that way should they choose to while it's not okay for others. For most of us, to get ahead, we need to be well liked and have a fairly good reputation. And just so you know (if this makes you feel any better), should they ever start slipping from on high, their inappropriate behavior...
One of the most accomplished filmmakers working in contemporary Hollywood, Oliver Stone is also one of the most controversial, creating vivid dramas of American history and politics that have provoked equal parts admiration and outrage. His film about the Kennedy assassination, JFK(1991), for example, created a searing controversy that led to denunciations by leading politicians, journalists, and historians. Ultimately, however, it resulted in legislation authorizing the Assassination Records Review Board, which assembled and made available millions of pages of documents on the assassination previously withheld from the public. In 1998 the Review Board specifically credited JFK with arousing public opinion to pressure Congress into passing the legislation. Arguably, no American work of art, with the possible exception of Harriet Beecher Stowe's Uncle Tom s Cabin (1852), has had as direct or consequential an impact on American history as JFK. (1927-1999) depicting the main character as...
After having been disappointed at the treatment of his script for Pussycat, Allen assumed the role of director for the first time with Take the Money and Run (1969). Similar to Chaplin's tramp in Modern Times (1936), Allen's screen persona is the urban antihero derailed by modern life. But for all his admiration of Chaplin, Allen's screen character borrows more from Bob Hope, who in the 1940s helped to usher in a new breed of personality comedian, one who fluctuated between the most incompetent of comic antiheroes and the cool, egotistical wise guy. In Sleeper (1973) Allen even sounds like Hope, with comic lines such as We're here to see the nose. We hear it's running.''
I try to bite off more than I can chew with each project and then learn how to chew it. And in the beginning, just the sheer fact of trying to make a film is so hard. And I have such admiration for people who actually get films done. I mean, we live in this world where our critical apparatus is so finely tuned, everybody's got the long knives out and we
Raj Kapoor is the quintessential Bombay industry filmmaker of the Nehru era. His career spans the first four decades following independence, from 1947 to 1988, coinciding with Nehruvian socialism. In 1991 socialism was abandoned in favor of liberalization, opening India's economy to the West. In the 1950s Kapoor translated his own admiration and his generation's enthusiasm for Prime Minister Nehru's vision into extremely popular Hindi films, which he infused with his unique mix of populist politics and sentimentality.
In Taxi Driver the cultural conflict lies not in the struggle between the mob, comprised mainly of Italian Americans from Little Italy and law enforcement agents, who are mainly WASP or Irish, but between social classes. On one side of Broadway lies the underclass caught in its criminal ghetto. On the other side lies the America of privilege, law, and respectability. Again, Scorsese shows his ambivalence about the underworld. For all his edginess, Travis elicits sympathy and even admiration in his mad adventures. Palantine, by contrast, is a pompous, hypocritical phony who feigns interest in Travis's inane opinions when riding in his cab. The letter from Iris's father describing his daughter's return to the life of a normal, working-class schoolgirl has a bittersweet note about it. Her spark has been quashed. When Betsy steps out of Travis's cab in the final scene, she leaves the world of real people and vanishes into her dull world of wealth and comfort, no doubt impoverished by
Although created outside institutionally controlled media channels, fan sites vary in the degrees to which they declare their conditions of production. Some sites proudly announce the origins of their authorship JC's Brad Pitt Links and Photos' 'Tim Ree's Cameron Diaz Page'. These sites read as shrines of personal devotion to stars. Others hide the traces of authorship, taking names such as the 'World of Brad Pitt' or 'Cameron Diaz UK'. By choosing this anonymity, fan sites remove the presence of the fan in the online discourse, masking their subjective origin, and giving a greater sense of their published content as authoritative objective information. The reverence with which stars are treated is therefore given more force, for sites do not appear to be the creation of one person's admiration, but the impartial recognition of a star's divine status.
The moment you sell out is the moment your love for creating is replaced by a love for being admired for creating. Focus on the process, not the result. If you focus on the work and love the process, then the three-picture deal will fall into your lap. Conversely, if you crave the result (the car, the fame, and the power) more than the process, you will eventually realize you are a fraud, lose the will to create and become one of the many functional alcoholics working in the industry today. You don't want to be them. They are bitter, jaded people with empty eyes. It takes years. Don't get jaded. It's all in the eyes.
Player 3 But one day, a girl named Daisy challenged Mary to an official popularity contest. By challenging Mary to the popularity contest, Daisy becomes character 1, and Mary becomes character 2. If this were an actual full-length play, there could be forty-five minutes of Foundation, in which we see Mary in action, before Daisy enters to challenge her to the contest. Regardless, it is Daisy who becomes character 1, not Mary.
Saintly virtue was less a legalistic than a charismatic matter. A combination of the force of personality, rigorous self-denial, humility and good works led people to believe that a saint was in their midst.'ii But while this may be the case, saintly recognisability is complicated by the fact that sainthood is by definition a state of perfection that only the saint can fully know. A saint's holiness is technically unrepresentable an impossible image. In one way this fits precisely with Edith Wyschogrod's thesis on saints and postmodernity that is, 'Not only do saints contest the practices and beliefs of institutions, but in a more subtle way they contest the order of narrativity itself'.iii In other words, saints trouble the basic premise of representation. For this reason, artists have turned to indirect or reflective means of depicting saints. Images of saints are not portraits - that is, images of the face as a mirror of the soul. Rather, faces of saints are emblematic of...
In both narrative film and theatre the actors provide the means by which we recreate human behavior and tell our stories. How do they arrive at the choices they make to become the characters in the scripts And what is their language, their vocabulary If we as directors are to communicate with them successfully, we must have some insight into their process. That word process should be plural, actually, as each actor usually has his or her own modus operandi, developed as a result of training and or experience. It is currently assumed that an individual desirous of a career as an actor will seek some kind of training. In the old days, actors were often hired, particularly in film and later in television as well, for their type or their look with little attention to any ability to act. It was often casting by persona or charisma or blatant sex appeal. Many of the famous stars of yesteryear learned on the job and sometimes sought training in midcareer as demands changed. But as...
I worked on Circle of Friends some years ago. It starred Minnie Driver in her first feature role in a film released in the United States. At the press day, it was obvious that she had the spark that it takes to be a star. In the office, we commented to each other that she seemed to have the charisma needed to make it in the business, and we were right. What followed soon after was Good Will Hunting, for which she was nominated for an Oscar. So, for me that was an example of being able to see what people talk about when they say someone has It.
Shirley Temple was an inspiring presence in American cinema of the 1930s. She first appeared on screen in 1932 as a three-year-old toddler in the risque Baby Burlesks'' short subjects and continued acting in over fifty films thereafter. Her ability to warm audiences with her charismatic and ambitious spirit during the Depression set a standard for child performers that has never been equaled.
It's very easy, when casting (and especially when casting quickly), to go after the people at the top, the leaders and figureheads. Often, they are known to be charismatic and articulate. But they rarely represent the whole story or, often, the most interesting part of it.
To encourage the audience to identify with the main characters, the micro strategies must be character focused and the macro strategies structural. The micro strategies have to do with the nature of the characters. Whether they are charismatic or flawed, there is an energy that emanates from the characters that engages the audience. Another strategy writers use is a private moment that reveals the true character. This strategy is appealing because the audience 225 feels privileged when characters reveal themselves to them. The macro strategies essentially use plot and antagonists to victimize the main character. None of us likes to be victimized, and we hope that the character can avoid victimization. The strategy of victimizing the main character is the strategy Polanski uses. His characters do not manage to avoid victimization instead, they are victimized by both the antagonist and the plot. Let's see how this works.
Just a sense of two charismatic people, and that there might be a story. . . . When the material came in we just let it wash over us. In general it was very strange. You almost couldn't tell if you had anything until you cut it, because it was so free-flowing. Very repetitive. It didn't have a structure. There were no events. There was nothing around which a conversation was going to wheel. It was all kind of the same in a gross way, and you had to dig into it, try to find motivations, condense the material to bring out psychological tones.
The main character should have the energy or drive to carry us through the story and should also appeal to us in some way. Some writers use a charismatic main character others will place a goal-directed character in a situation that creates an identification or empathy with that character in the minds of the audience. In both cases, the main character should be visually and behaviorally defined in such a way as to help the story. For example, the more visual consideration given to who the character is and what he or she looks like, the more likely the character's look can help the story.
According to Tan, the two elements that largely determine the way a particular film shapes our interest are action or plot structures (which he calls thematic structures) and character structures (including empathy, sympathy, admiration, and compassion). Themes are scenarios that guide our expectations concerning character actions, motivations, and possible narrative outcomes. Common themes include betrayal, self-sacrifice, and deceit. Psychos shower scene, for instance, activates the theme of punishment 13 by doing violence to an embezzler on the run from the law. A retaliation thematic structure would involve a malicious act that causes a loss, prompting a character to retaliate by committing a vicious act in return. The script for such themes is composed of smaller plot units, which are the major plot landmarks, such as successes, losses, and malicious acts. Although Tan notes the possibility of nonempathetic emotions, his account of the viewer's emotional experience centers on our...
The most celebrated period of Gance's career began with his acclaimed antiwar feature J'accuse (I Accuse, 1919), which was a hit across Europe and in the United States. After the death of his wife from influenza, Gance traveled to the United States to recover from his loss while also promoting J'accuse across the nation. Despite the admiration of D. W. Griffith and the offer of a contract from Metro, Gance returned to France. His next film, La Roue (The Wheel, 1923), the story of a railway mechanic, won acclaim and would later be cited as an influence by both Jean Cocteau and Akira Kurosawa.
Michael Powell and Emeric Pressburger Michael Powell b Bekesbourne Kent England September d February Emeric Pressburger
A pair of propaganda films, 49th Parallel (1941) and One of Our Aircraft Is Missing (1942), early in World War II won them admiration. In 1943 they established their own production company called the Archers, for which they made a succession of popular and significant films. The first was another propaganda film, The Life and Death of Colonel Blimp (1943), but as it was critical of the British military leadership, it was frowned upon by the War Office as well as by Winston Churchill.
For Schopenhauer, the 'speech' of the face differs from verbal articulation of conscious thought in that the former provides access to the 'thought of nature'. But what does he mean exactly by nature In his essay 'On the Antithesis of Thing in Itself and Appearance', Schopenhauer challenges Emmanuel Kant's notion of 'synthetic judgement' in which Kant theorises of the role of the intellect in the processes of perception. Kant claimed that in perception a structure is imposed upon the sense perceptions of the physical world, thus creating a distinction between a 'thing in itself' - that which exists a-priori to perception - and physical appearance. In The world as will and idea, Schopenhauer argues that intellect is secondary to will. He also insists that will is not rationality. Nor is will confined to human experience. Rather, Schopenhauer attributes this transcendent will to nonliving matter. Crudely put will is a kind of inner force of things.xxii
Focusing on the example of Steven Spielberg's Always (1990) - an 'acknowledged, transformed' remake of the Second World War fantasy A Guy Named Joe (Victor Fleming, 1943) - Greenberg finds in 'the intensely rivalrous spirit inhabiting Spielberg's homage an unconscious Oedipally driven competitiveness which constitutes the dark side of Spielberg's intense admiration for the original film and its director and father surrogate, Victor Fleming '.63 Greenberg's 'symptomatic reading'64 of film remaking is itself an (acknowledged) elaboration of Harold Bloom's theory of influence (and the Freudian analogies that structure it),65 and a like attempt to shift the relationship between a text (remake) and its particular precursor (original) to that between an author and his major predeces-sor(s).66 In the case of Always, Spielberg, at once worshipful and envious of his predecessor (Fleming, and also Spielberg senior, a Second World War veteran), returns to his preferred Second World War locale...
The star system that developed in the early decades of the film industry prized certain highly photogenic men and women of great physical beauty and charisma. Yet early on, the public also took to its heart actors who were not so much personalities as chameleons capable of creating a range of characters. In the 1920s, Lon Chaney, ''The Man with the Thousand Faces,'' intrigued audiences just as much as Greta Garbo or Rudolph Valentino. The
At Warhol's Factory, androgyny and sexual ambivalence had been part of Dallesandro's star image. Vogue had described him as exhibiting 'a new uni-sexed glamour'.49 This sense of crossing sexual boundaries was to continue in his French films, notably the first two, Louis Malle's Black Moon and Serge Gainsbourg's Je t'aime, moinonplus (both 1975). In the former, Dallesandro and Alexandra Stewart play twins, both called Lily. Cast for his resemblance to Stewart, Dallesandro represents a kind of male ideal in the film, androgynous in appearance and, at least initially, harmoniously identified with his sister. (This harmony between brother and sister is in direct contrast to the literal batde between the sexes that gives the film its violent context.) Although Dallesandro's physical appearance is emphasised (again, largely via the identification with Stewart), his voice is
Chion's general approach is broad-minded enthusiasm. He detests value-judgements in soundtrack analysis, a frequent statement being that of course a film could have been made in a completely different way with different music, but what we have is the film as it is, with all its faults and its attractions. Chion is, like Deleuze, full of enthusiasm for the great auteurs, such as Hitchcock, Welles, Bresson or Duras, but is equally filled with admiration for particularly interesting soundtracks in obscure as well as very popular commercial films. He is similarly full of enthusiasm for technological developments. Whereas many critics deplored the advent of the Dolby sound system during the 1980s, suggesting that it turned films into depthless spectacle, Chion sees the advantages of such a system, arguing, for example in L'Audio-Vision (1990), that having Dolby is like the difference between a concert grand piano and a drawing-room upright.
Despite this emphasis on physiognomics benefits to humankind, it seems that many of Lavater's contemporaries were greatly concerned about the potential dangers of this 'additional eye'. In an illuminating essay on the social context and reception of Essays on Physiognomy, Michael Shortland reports that there were varied reactions to Lavater's claim to a special optic power. For some, Lavater's additional eye was seen as an eye that could, as Shortland puts it, 'fathom different regions of the body, penetrating to hidden layers of meaning, and prising off deceits and postures' (294). As such, it served as a useful tool in the task of detecting hypocrisy, which, according to Shortland, was at that time a controversial issue. Others, however, responded to Lavater's power to unmask the mysteries of the face by masking up. An entry in the Encyclopaedia Britannica (1853-60) on Lavater, as quoted in Shortland's essay, explains that 'Admiration, contempt, resentment and fear were cherished...
When I teach my introduction to film criticism course, I sometimes let my students choose to analyze one of a select list of classical Hollywood films as their midterm project. If an individual student wants to examine a particular film that is not on the list, I usually grant permission for him or her to do so (if I am familiar with the text). There is only one film that I have consistently forbidden my introductory students to analyze Casablanca. When students ask, Why not I usually tell them that the film is just too difficult for a beginning critic to analyze. It's too close to the classical ideal of invisible style to discuss its visual aesthetic, I argue, and the film depends too much on the charisma of the stars, which is another difficult concept to dissect. The remarkable thing about Casablanca is that it's difficult to describe what's remarkable about it. Casablanca not as a rickety production with charismatic stars and little style, but instead as a coherent, well-made,...
Even as an outsider who can never become a true insider, Henry never shows resentment for his exclusion. He not only accepts this as the proper order of things, but he also has great admiration for the Old World ways of the Sicilians. In this respect, Henry reflects Scorsese's own sense of appreciation for the tribal ways that are now passing from the scene. As a twelve-year-old, he begins running errands for the local
In painting, the techniques of the portrait have accustomed us to these two poles of the face. Sometimes painting grasps the face as an outline, by an encircling line which traces the nose, the mouth, the edge of the eyelids, and even the beard and the cap it is a surface of faceification visageification . Sometimes, however, it works through dispersed features taken globally fragmentary and broken lines which indicate here the quivering of the lips, there the brilliance of a look, and which involve a content which to a greater or lesser extent rebels against the outline these arc the traits of faceicity visageite .1 And it is no accident that the affect appeared from these two points of view in the great conceptions of the Passions which run through both philosophy and painting what Descartes and Le Brun call admiration, which marks a minimum of movement for a maximum of unity, reflecting and reflected on the face and what is called desire, inseparable from the little solicitations...
Harris is a chameleon, convincing as a Nazi assassin in one film (Enemy at the Gates, 2001), a comically befuddled military base commander in another (Buffalo Soldiers, 2001), a hard-nosed CIA-type in a third (A Beautiful Mind, 2001), a kindly small town football coach in a fourth (Radio, 2003). However, he rarely alters his physical appearance, seldom covering his bald head with any kind of hairpiece except when he has to resemble an actual person (as, for example, head of NASA Mission Control Gene Kranz in Apollo 13, 1995). And while he may have become identified with authoritarian roles of a military and or national security bent, he is equally convincing playing the rowdy husband of country singer Patsy Cline (Sweet Dreams, 1985), a poet dying of AIDS (The Hours, 2002), or one of the predatory salesmen in Glengarry Glen Ross, 1992). He is reminiscent of the best character actors of the Hollywood classical era. Like Thomas Mitchell, Claude Rains, and Arthur Kennedy, he can create a...
Glenda Jackson received her training at the Royal Academy for Dramatic Art and commenced a stage career in 1957. Her first major stage success was her performance as Charlotte Corday in Marat Sade, a 1964 production by Peter Brook's Theatre of Cruelty she recreated the role in the 1967 film version of the play. Jackson's intensity in her roles in the films of Ken Russell, which at the time pushed boundaries in popular cinema, brought her attention and admiration. She won her first Academy Award for Best Actress for her portrayal of Gudrun Brangwen in Russell's controversial adaptation of the D. H. Lawrence novel Women in Love (1969). She later portrayed Brangwen's mother, Anna, in Russell's adaptation of Lawrence's The Rainbow (1989).
Thanks to Dyer, Christine Gledhill and others, it is now recognized that the star is more than just talent, beauty, glamour and charisma. There are at least five key elements to be considered when studying stars. These five elements - the star as a real person the star as a form of economic capital or commodity the star in performance, as someone who takes on roles and characters the star as an image, a persona, a celebrity, and the star as a form of representation - will be examined in turn here. While we may tend to focus on Hollywood, if only because it was responsible for the primary model of film stardom, it is hoped that the reader will go beyond its boundaries to look at stars from other national cinemas.
Because of that, Peter attracted the admiration of his neighbor's wife. Notice how The Foundation Focus, in which Peter attracts the admiration of his neighbor's wife and they have an affair, while certainly a possible outcome of The First Significant Event, is simply not as dramatically satisfying as the first example.
In each of these films, as in the prison and boxing films of the forties, crime is used as a way of converting noncriminal but potentially unbearable social anxieties into entertainment by scaling down their threat from the global to the subcultural level, linking the threat to a series of charismatic heroes and villains who can encourage a strong rooting interest, and directing the audience's concern along the comfortably generic lines of the crime film. Ten years earlier, the crime-reporter hero's editor in Foreign Correspondent (1940) had cut the Nazi threat in Europe down to size with the injunction, There's a crime hatching on that bedeviled continent. Now films like Kiss Me Deadly showed how the crime genre could be enlisted to domesticate the equally imponderable threat of global holocaust.
Aesthetics to the American screen, particularly in those adult thrillers that postwar French film critics would dub films noirs for their characteristically dark worldview and shadowy urban milieu. Billy Wilder directed one of the first noirs, Double Indemnity (1944), whose charismatic criminal couple, snappy dialogue, and stark visual style were highly influential.
William Herndon, the most famous biographer of Lincoln's prepresi-dential years, appears as a principal character in the play, but he acts less as a law partner and more like the scolding chorus of a Greek tragedy as he exhorts Lincoln to live up to his political principles. Despite his admiration for the film, even Lincoln film historian Mark Reinhart noted Sherwood's curious and historically unfounded portrayal of an unambitious Lincoln. In a scenario that extends to 1861, the political opportunist is nowhere to be seen. In the staged debate between Lincoln and Douglas, Sherwood borrowed and then pieced together extensive excerpts from Lincoln's house divided speech, private correspondence, and some debating texts, but his self-described obsession with documents does not acknowledge their compromised historical context in the play.75 This use of history is pushed farther in the film when Lincoln gives a ten-minute exhortation to the camera, creating the illusion that the film...
Alley), from temptation by a counterfeiter and pursuit by a relentless police officer. The most elaborate story in Griffith's four-story epic Intolerance (1916), later recut and released separately as The Mother and the Law (1919), dramatizes the struggles of an innocent man (Robert Harron) when he is unjustly accused of murder and is rescued from the gallows by the last-minute detective work of his faithful wife (Mae Marsh). In all these films, Griffith's interest is less in the charisma or brutality of the criminals than in the dangers they pose the innocent victims, who remain closest to Griffith's heart. Intolerance is less an indictment of its sympathetic, distracted murderer, whom the film calls The Friendless One (Miriam Cooper), than of the ruthless industrialism and social hypocrisy that have made its hapless hero and heroine so vulnerable in the first place. Griffith's criminals are more fearsome for what they threaten than for who they are their romance lies in their...
After seeing Rome, Open City and Paisan in New York, the actress Ingrid Bergman wrote to Rossellini expressing her admiration for his work. They married in 1950 and began a collaboration that would result in several important films, including Stromboli (1950), Europa '51 (The Greatest Love, 1952), and Journey to Italy. At this point in his career, however, Rossellini's critical
Sure a whole lot of people know you is the other half. Whether it's by helping others, providing useful information (see I'm A Friend of Marc's And Jeff's in Chapter 12) or creating a memorable logo, business card, website and or demo reel for yourself, getting your name out there, being well liked and being remembered is the other part of this game.
MGM were the first to respond, releasing Shaft within a year of Sweetback. It turned out to be a very adroit move, for the film not only became a massive nationwide success, but also initiated the whole new genre that would quickly become known as 'blaxploitatior.' Shaft firmly established the formula for the genre a powerful, attractive, black protagonist fights with attitude and charisma against 'the man' while enjoyin the admiration of several beautiful women. The hero was always cool, ruthless and fashionable and strode through the action accompanied by a soundtrack of smooth, catchy music-a popular trademark of many blaxploitatior titles. Written by Isaac Hayes, Shaft's theme song became a huge radio hit. Its legendary soundtrack won an Oscar and. Grammy and went Platinum.
When prominent British television journalist Melvyn Bragg heard that his one-time colleague, Dennis Potter, was dying of an incurable form of cancer he approached him with a proposal for a 'final interview' Bragg's reaction to the news of Potter's death might well be regarded as opportunistic, as he himself considers in his introduction to the published transcript of the interview (ix). However, putting the question of opportunism to one side, Bragg reports that the response to the programme was overwhelming 'We certainly delivered a television programme which moved and even rocked many of the people watching. Thousands of people reacted directly with phone calls and letters. For some it was a living example of great courage. For others it was an address to the nation in duplicitous and dangerous times. He spoke for sons and their fathers, England and its true traditions, for the present and its infections and yet its possibilities. Of his own work and his last remaining ambition, of...
Sometimes, a nonprofessional is cast in a certain part because there are correspondences between the individual's physical appearance and the director's view of what a particular type of character should look like. In the silent era, Russian filmmakers such as Sergei Eisenstein (1898 1948) relied on this casting approach, known as typage. In the mid-twentieth century, Italian neorealist filmmakers such as Vittorio de Sica (1902-1974) sometimes cast a nonprofessional because his or her appearance, carriage, and lived experienced so closely matched the character's. In most narrative films, however, there is little connection between the fictional character and the actor's physical qualities.
From this perspective it is not surprising that, in France, for instance, young critics such as Truffaut, Godard, Kast, or Rohmer, who would soon start as filmmakers, praised the teenpics. With these American juvenile crime movies in mind, the later New Wave directors argued that the French film industry had forgotten how to deal with contemporary problems and issues in relation to young people. The New Wave critics' admiration for younger American directors such as Brooks and Ray was part of a reevaluation of Hollywood as a creative site where genuine auteurs flourish. It also included a refutation of the older generation of French filmmakers, often called
He seemed intrigued by the many possibilities for historical details and cameos (hiring Buster Keaton, another star whose career had ended at MGM), and initially he envisioned the film in crisp black-and-white documentary cinematography to enhance the reality of the narrative.35 Early in production and long before Johnson's memo, he even hired Mack Sennett to act as a script consultant, producer, and actor in the film.36 Zanuck probably met Sennett when the latter was briefly honored for his contribution to motion pictures at the 1937 Academy Awards ceremony. However, even with his admiration for Sennett's custard pies, cops, and bathing beauties, Zanuck never planned to honor Sennett's talents as a director by including old footage from his work in the new film. Zanuck planned to remake and refilm Hollywood history according to his taste, and Johnson could not change his mind. Instead, Keaton, Sennett, and other old faces returned merely as faded cameos, displaced stars in a...
Curiously, von Moltke minimizes camp's activity beyond American shores and comes close to saying that camp is a specifically American phenomenon.70 This is partly a consequence of his choice of examples Ross's work and his reference to 'Hollywoodiana' filtering Fassbinder's cinema through Hollywood melodrama or through director John Waters's confession to secretly adoring the late German art director. Once touched by American reception, it would seem, as in the instance of Fassbinder by Waters, German films can return home as camp. Von Moltke characterizes domestic audiences of the New German Cinema as having stuck more or less to the films' literal, immediate referents, an observation that we saw made by historians like Eric Rentschler. Von Praunheim's admiration for Tally Gown, von Moltke states, provides a good example of a kind of German camp which picks up on figures and icons that have already been made over into camp in the United States. 71 Significantly, this is one of his...
This may sound tough, but you must be acutely aware of anything physically negative about yourself that's ghastly. If you have a physical attribute that could turn people off, agency and production people could get turned off, too. Agencies get notoriously picky about appearance because the talent on thatTV screen in your living room represents our client. So, you have to be honest with yourself and determine whether your physical appearance could be detrimental, and if so, ask yourself if it's worth correcting.
A location manager represents an entire film production and is generally the first person the outside world meets. His job is to help realize the director's artistic vision by finding practical locations where the company can shoot. If what the director has envisioned isn't available, the location manager often has the formidable task of selling the director on the merits of alternate sites. He has to know what constitutes a suitable location (entailing much more than mere physical appearance) and is able to do so based on his working knowledge of site fees, permits, regulations, restrictions, fire safety, security issues, insurance requirements and whether a specific property can accommodate an entire cast and crew plus extras, vehicles, equipment, a catering tent, etc.
And then there is the question of auditioning and casting children. Here there is such a wide range of possibility that the topic almost requires a book of its own. Each age presents a different set of circumstances and demands adjusting of the approach to the particular child. And within the given age or age range there are tremendous variables, often depending on the environmental and parental influences brought to bear. Even the head shot can be misleading as children tend to change physical appearance in a matter of weeks. The age at which children are able to read and comprehend varies enormously. The individual attention span is also a huge variant.
Earning a bachelor's or advanced degree is necessary for many jobs however, it is not a requirement in Hollywood. Drive, determination, charisma, self-confidence, durability, and stamina often overrule education and intelligence in this industry. Therefore, it is not necessarily a prerequisite to have a degree from an Ivy League school or a second degree from any type of higher learning institution.
For the past decade or so, the Hollywood film industry has been under the sway of an intense, not to say at times hideous, fascination with the cinemas of East Asia, particularly its dynamic action genres and charismatic action stars. Aside from Chow Yun-Fat, performers such as Jackie Chan from Hong Kong, Joan Chen and Jet Li from China, and Michelle Yeoh from Hong Kong Malaysia have made their mark on US public life by appearing in, and often carrying, major star productions. The proliferation of compelling images of Chinese and other Asian identities in 1990s Hollywood can be tracked through a viewing of these stars in titles such as Anna and the King., The Corruptor (1999, USA), First Strike (1999, HK), Lethal Weapon 4 (1999, USA), Romeo Must Die (2000, USA), The Replacement Killers (1998, USA), Rumble in the Bronx (1998, HK), Rush Hour (1998, USA), Rush Hour 2 (2000, USA), The One (2001, USA) and Tomorrow Never Dies (1997, UK USA).
Kracauer gained much admiration with his approach, but he also received much criticism. The critics were concerned with his highly debatable methods of interpretation and his unclear criteria for selection. Kracauer also conducted his analysis one-dimensionally and finally from the later perspective of National Socialism, thereby assuming that he could reveal latent meanings in Weimar films as an omnipotent interpreter. No wonder that Kracauer found what he had been looking for, a strong authoritarian predisposition on the part of the German people.41 Although I do not subscribe to his school of thought, I would like to mention his huge knowledge of the period and its cinematography. He also tried to interpret the meaning of the First World War films produced during the Weimar period, although he did not approach them as belonging to a 'genre'. It is therefore useful to examine his assertions on these war films.
Stanley Kubrick was not alone in using an editing style to create a psychological context for a place or a character. Werner Herzog created a megalomania that requires conquests in Aguirre The Wrath of God (1972). Aguirre the Spanish conquistador is the subject of the film. Even more challenging was Herzog's The Enigma of Kaspar Hauser (1974), the nineteenth-century story about a foundling who, having been kept isolated, has no human communication skills at the onset of the story. He is taken in by townspeople and learns to speak. He becomes a source of admiration and study, but also of ridicule. He is unpredictable, rational, and animistic.
There have been and are many such film 'authors'. One further interesting case was Marguerite Duras, a French writer and film-maker who died in 1996 as author of much literature and of over 20 films. One of her avowed reasons for making films was a strong hatred for the limitations and conservatism of conventional film story-telling, and almost all her films (for example, India Song, 1974 Le Camion, 1977 Les Enfants, 1985) were thus refusals of the conventional treatment of time, character and space. While following a very personal agenda both in terms of the films' subject matter and in her filming methods, the thing to stress in the case of Duras is the collaborative nature of the work perhaps a kind of seduction in which the directness and the honesty of a charismatic artist, though often 'difficult' to deal with, generally produced a closeness and a sense of shared purpose in all those involved.
Brooks' celebration of Berry's beauty, and of her acting skills, delights in what they seem to promise as new possibilities for Black American women. It is not that all questions about representation have gone away, rather, that the very charismatic qualities that she, as a star, embodies seems to offer a transcendent opportunity.
Ructions and rows occasionally turned up as well C. A. Lejeune storming out of Psycho (1960) after the murder in the shower, a dramatic moment made all the more so by the fact that Hitchcock was known to be a friend of hers an elderly Jewish critic offended almost to tears and then to weeks of coldness and complaint by a scene in Kevin Brownlow's It Happened Here (1963), in which a National Front member - a 'real' person, not an actor -spewed out his own passionately anti-Semitic opinions newspapers shutting down without warning, as the News Chronicle did, leaving its well-liked film man Paul Dehn high and dry (though not for long), to our passionate indignation and sympathy a piece I had written about a particularly filthy film blown up hugely and jubilantly displayed outside the cinema where it was showing (it wasn't sexually filthy it used physical handicaps for sensational effect, and taught me that such protests, as I should have known, excited nasty reactions).
Importantly, the increasing dominance of the soundtrack in contemporary film is not just a matter of stylistic or formal shifts in film production, it is also implicated in changing notions of musical performance. In the classical musical, performance is usually transparent and expressive of sincere emotions or it is linked to the theatrical presentation of 'talent' or star charisma often, it may draw on a combination of these elements, but regardless of the specific musical sub-genre, the performance itself is represented as authentic. One of the most interesting features of the way in which the soundtrack film developed during the 1990s was its recovery and recasting of a version of diegetic performance that also drew on the use of pre-recorded music. While retaining the soundtrack score a number of films also included a 'moment' or moments of performance within the diegesis that clearly referenced the traditions of the musical.
Many cartoons, interestingly, featured jazz.16 In the early 1930s, the Fleischer Studio released a series of Betty Boop cartoons combining Betty, her friends Bimbo and Ko-Ko and jazz artists such as Armstrong, Cab Calloway and the Boswell Sisters through the technique of rotoscoping (a method of animation in which the photographic image of a live figure is projected and traced frame by frame). The Fleischer Brothers developed the technique, using it to full advantage in their jazz cartoons for Paramount Pictures, particularly those featuring the unique and charismatic jive choreography of bandleader Calloway. The next decade saw the appearance of popular short animated loops, of about three minutes, for jukeboxes employing rear-projection, featuring such artists as Ellington, Count Basie, Lionel Hampton and Fats Waller, but they were eventually withdrawn because of pressure from theatrical distributors who viewed them as competition.17
I wanted to write about star performance. I was interested in the effect of an actor's physical appearance. I was going to make two comparisons first, between Jodie Foster and Julianne Moore as Clarice Starling in The Silence of the Lambs (1991, USA) and Hannibal (2001, USA) second, between Deborah Kerr and Julianne Moore as Sarah Miles in The End of the Affair (1952, USA, and 2000, USA, respectively). I began my preparation, looked at the DVDs, read the novels and the scripts. And then Ideology is an account of how meanings arise, how some become dominant, and how claims for legitimacy are made. I do not think that the main interest of stars (or films) is in the meanings they create. I agree with Geoffrey Nowell Smith's claim that 'Films mean. But they do not just mean. Too many of the things that films do evade attempts to subsume them under the heading of meaning' (Nowell Smith, 2000 16) Applied to stars, I would highlight performance as an area that has been evaded. The exchange...
Despite his mediocre grades in high school, Spike Lee was admitted to Morehouse College in Atlanta. If his academic performance in high school was less than stellar, he was, after all, a third-generation legacy, and he had no trouble gaining admission. During his mother's illness, the family experienced some financial stress, and his grandmother, Zimmie Jackson Shelton, helped out with tuition. In 1978, the year after his mother's death, Bill Lee married Susan Kaplan. Despite their growing apart as his father's interests shifted to his new family, Spike never lost his admiration for Bill Lee's ability and had him provide the scores for several of his films. His father's marriage to a Jewish woman
The most obvious of these ways was to make law enforcers as glamorous and charismatic as criminals. Since real-life enforcers were by definition organization men and women, the challenge of bringing them to melodramatic life was considerable, and it is not surprising that the first police hero to achieve widespread popularity emerged from the funny pages. Chester Gould's Dick Tracy, the comic strip that debuted in 1931, worked by setting its hero - whose creator had originally planned to emphasize his anonymity by calling him Plainclothes
All of these screenplays are serious, but none could have succeeded on that alone. Charisma and creative solutions to characterization, to providing catalytic action, and to bringing about resolution are hallmarks of each of these screenplays. They offer models of the short film script and can provide the reader with appropriate examples of the format used in scriptwriting.
The Power Of Charisma
You knowthere's something about you I like. I can't put my finger on it and it's not just the fact that you will download this ebook but there's something about you that makes you attractive.