A Quote by Bernard Herrmann
I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative switftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.
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When we go to the movies, we identify with the characters we see. That's why we go to the movies; we have a voyeuristic experience; we have an out of the body experience. The screen is more real than our thoughts are at the moment we are looking at the film and we place ourselves in the place of the people on the screen, and when they behave nobly, it makes us feel noble, when they are sad and when they have lost love, we feel sad; we can identify with that.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
Many writers struggle with exposition in their novels. Often they heap it on in large chunks of straight narrative. Back story – what happens before the novel opens – is especially troublesome. How can we give the essentials and avoid a mere information drop?
Use dialogue. First, create a tension-filled scene, usually between two characters. Get them arguing, confronting each other. Then you can have the information appear in the natural course of things.
I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.
As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what's happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.
It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.
Drama is life with the dull bits left out. There is no terror in the bang, only in the anticipation of it. I believe in putting the horror in the minds of the audience, and not necessarily on the screen. The length of a film should be directly related to the endurance of the human bladder.
As far as looking at myself on screen, I tend to pick out every single flaw that I could have or should have done better. I'm more of a cringer at first and when it is years down the road and out of my way, I can actually appreciate it somehow.
A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
We see daily that our lives are terrible and little, without continuity, buyable and salable at any moment, mere blips on a screen, that this is the way we live now. Memory marketed as nostalgia; terror reduced to mere suspense, to melodrama.
I do not think that there need be the conflict between books and videos, that one would drive out the other. It certainly is possible to watch the screen for some things and for others to sit down and read, because the screen is easier to do, to watch is easier than to read because you don't have to contemplate anything. Someone else has done the work of putting it on the video.
Most of my writing is an effort, one way or another, to figure something out about myself, and often when I read dialogue between my characters I recognize it as a discussion between two aspects of my own personality, aspects which are too often at odds.
Rehearsals and screening rooms are often unreliable because they can't provide the chemistry between an audience and what appears on the stage or screen.
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