By Sidney Lumet
From one among America's so much acclaimed administrators comes a publication that's either a certified memoir and a definitive advisor to the artwork, craft, and company of the movie. Drawing on forty years of expertise on video clips starting from lengthy Day's trip Into evening to the decision, Lumet explains the painstaking hard work that ends up in hours of display magic.
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Extra resources for Making Movies
Although I had been slogging my way through the gutters of production and was not as schooled in semiotics as James, we had read enough of the same books—Jon Berger’s Ways of Seeing; Robin Wood’s Hitchcock’s Films—and shared the same generosity of spirit to know we could get along and collaborate. At this early point in our careers, both of us felt free to dream big, to believe that we could make the kind of films we aspired to and actually support ourselves. We also didn’t really fathom all that was involved.
We had worked up a series of vignettes based on factual tales we had researched. And the vignettes would come and go in development, based on both what Ang wanted and what was feasible at the time. Different sequences would get killed as we tried to make the budget work. It’s tough to destroy a city on horseback; it takes time and a whole lot of money. Our location manager and line producer, Declan Baldwin and Robert Colesberry, found a town that had been wiped out by a recent flood. FEMA (Federal Emergency Management Agency) wanted the town destroyed.
I needed to understand why. ” He didn’t respond. 34 TED HOPE “Ang, you’re not happy with something. ” “Everything’s fine,” he said, but he was scowling all the while. ” Ang just shrugged. ” I asked. “All the dresses were great,” he said. ” He didn’t bite. But I persisted. ” “The brown dress is lovely,” he said. ” “I liked the brown dress,” he said. “But you’re upset, Ang. ” No response. A long moment passed. “Yes,” he said, finally. ” In that moment, it suddenly dawned on me that Ang would never come out and say he didn’t like something.