A Quote by Domenico Gnoli
I couldn't get used to the community and social life of a theatrical set designer.
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As a designer, as you get used to Kinect, it's such a different experience for me as a designer - for any designer.
The words graphic designer, architect, or industrial designer stick in my throat, giving me a sense of limitation, of specialisation within the specialty, of a relationship to society and form itself that is unsatisfactory and incomplete. This inadequate set of terms to describe an active life reveals only partially the still undefined nature of the designer.
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
The designer [...] has a passion for doing something that fits somebody's needs, but that is not just a simple fix. The designer has a dream that goes beyond what exists, rather than fixing what exists. [...] The designer wants to create a solution that fits in a deeper situational or social sense.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
It's easy to get a theatrical release that shows in one theater for a week. But there's no advertising, and no one sees the movie. It's hard to get a real theatrical release. The distribution of independent films is, to me, extraordinarily frustrating.
When you as a designer design something that burdens a community with maintenance and old world technology, basically failed developed world technology, then you will crush that community way beyond bad design; you'll destroy the economics of that community, and often the community socially is broken.
When you as a designer design something that burdens a community with maintenance and old world technology, basically failed developed world technology then you will crush that community way beyond bad design; you'll destroy the economics of that community and often the community socially is broken.
So take social media; take a look at the way they're used. In a lot of ways they're used constructively; lot of things are done that couldn't be done before. On the other hand a lot of the effect of social media is to set up extremely superficial contacts amongst people.
Community life is not easy for somebody like me, who is used to living by himself and doing what he wants. It's a demanding life, and you quickly get in touch with your own handicaps and weaknesses.
Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.
The physical life of an individual person is limited, but the life of the masses united as an independent social-political organism is immortal. Only when an individual becomes a member of this community can he acquire the immortal social-political life.
How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.
Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.
I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
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