Những bài học điện ảnh

by Laurent Tirard (Editor), Hải Linh (translator), Viết Linh (translator)

From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the world's greatest directors on how they make films--and why

Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of today's most important filmmakers to get to the core of each director's approach to film, exploring the filmmaker's vision as well as his technique, while allowing each man to speak in his own voice.

Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesn't work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.

Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.

Genres: Film, Nonfiction, Art, France, Media Tie In, Writing, Ebooks

301 pages, Paperback

First published October 10, 2002

About the author

Laurent Tirard was a French film director and screenwriter.

Reviews

[Pavel · Rating 4 out of 5]

I can save you time/money on reading this book. Basically, all these guys (and there are NAMES here like Gorard, Lynch, Von Trier, Almodovar, Allen etc) are saying is: go film something and figure out yourself if you really want/can become a director. For whatever reason though I kept reading.

[Dario · Rating 4 out of 5]

Woody Allen, Pedro Almodovar, Bernardo Bertolucci, Tim Burton, i fratelli Coen, David Cronenberg, Milos Forman, Jean-Luc Godard, Alejandro Gonzalez Iñarritu, Jim Jarmusch, Mathieu Kassovitz, Takeshi Kitano, Emir Kusturica, David Lynch, Michael Mann, Arthur Penn, Roman Polanski, Sydney Pollack, Martin Scorsese, Steven Soderbergh, Oliver Stone, Lars von Trier, Wim Wenders, Wong Kar-Wai, e John Woo.

Fare film e’ facile, anzi no. Bisogna guardare tanti film, anzi dopo un po’ basta, bisogna buttarsi e iniziare a farli, i film. Bisogna scrivere i propri film, anzi no, meglio che lo facciano altri. Bisogna fare film per se’ stessi, anzi no, devi pensare al pubblico. Bisogna lasciare liberi i propri attori, anzi no, meglio controllarli. E così via. Fare e disfare regole. Questo e’ cinema. Ed e’ bello così com’e’.

Un po’ grave l’assenza di registi donne. Kathryn Bigelow, Jane Campion, Penny Marshall, Lina Wertmuller, le scelte non mancavano. Peccato.

[Julia Mattis · Rating 3 out of 5]

redundant & not a single female filmmaker interviewed...

[Aylar Mehrnasab · Rating 5 out of 5]

کتاب تشکیل شده از صحبت های یک سری از کارگردان های سرشناس دنیا و در میون گذاشتن تجربه های فیلمسازیشون با خواننده. شخصاً به منی که از ترسِ خراب کردن، اصلاً شروع نمیکردم این قدرت رو داد که نوشتن اولین فیلمنامه ی بلندم رو شروع‌ کنم.

[Abe · Rating 3 out of 5]

I enjoyed the various perspectives on the same questions - how do you follow the script, how do you block, what lenses do you prefer, how do you dorect actors, for whom do you make movies, etc., but the "instinct" answer did become tiresome after a while. The Coen brothers poke fun at how that's usually the answer behind which they hide in interviews. Of course these guys all know what they're doing, they're masters. They just don't verbalize all their "instincts" while at the task. Cronenberg's section is fantastic; as a lover of literature and film, he acutely describes how the two have evolved to become parts of the same whole of storytelling. There are many reasons that guy is my favorite, and his love of literature coming through in his films is one of them.

[Alexia · Rating 5 out of 5]

In the past ten plus years of college I have had a lot of information thrown at me. I have caught a bit, tossed a bit back and ultimately I'd say that college has made me only slightly more intelligent. This book however is everything I ever needed to know in film school (minus all the technical camera, lighting and sound stuff that I still haven't had a decent class about). Essays by many of my favorite and most influential directors, like Bernardo Bertolucci and Martin Scorsese, discuss the unteachable and nuanced world of being a film director. A must have for anyone even remotely serious about the art of film directing.

[Isa]

An incredible opportunity to read the thoughts of some of the greats. Love the fact that the questions repeat and to see how different they respond, each one of them with their own approach and ideas.

Cinema is an exploration; there are no rules and it's such a new medium that I believe, because of its nature, will never stop evolving. Incredibly inspiring!

[Raúl Rodríguez · Rating 3 out of 5]

Un libro imprescindible para todo aquel que le guste el cine. Esta lectura se la dedico a mi amigo dj gump.

[Braulio Balcázar · Rating 5 out of 5]

Me gusta mucho leer a cineastas hablando de su proceso creativo, de sus métodos y sus miedos. Aprendí mucho de todos estos grandes cineastas (más de unos que de otros).

[MKMKMK · Rating 4 out of 5]

I wish this book lasted longer. It was a really interesting journey through all these great director's heads. Actually examines their technical decisions, ideas about how to go about preparing for shoots. By far the most relevant information I've read by filmmakers I really love. Most of the time it seems that these books that go into more than theory are written by some jerk off who teaches film classes at Columbia or something, who you've never heard of and aren't really sure why you should be taking their advice. This book has that nice mixture. It is both by filmmakers I admire, and isn't blow off filler that is normally in these sorts of things...

[Nico Bilbao · Rating 5 out of 5]

Gran libro, creo q tomando en cuenta el origen de las entrevistas, uno no puede esperar mucha mas profundidad en los conceptos (tampoco creo q haga falta) y le permite encontrar al lector los puntos de vista de los distintos directores q mas se adapten a la forma de ser de cada uno, porque creo que es lo que mas claro queda despues de la lectura, hay tantos metodos como directores. Pero mas que nada supera tecnicismos y hace de la lectura algo fluido y entretenido.

[Nebojsa Beat · Rating 5 out of 5]

I digested many filmmaking books, but I must say this book was one of the most useful. Directors interviewed are all great names, and they share heaps of useful tips, information and personal views on cinema and filmmaking. They have different opinions, and every interview is somewhat unique. Must-read for filmmakers...

[Conisometimes · Rating 3 out of 5]

Lo mejor para el final: Godard. Me entretuvo bastante y fue curioso conocer las perspectivas tan diferentes sobre temas técnicos, procesos creativos, interpretación, etc. Una lástima que no se refiera a ninguna directora mujer, pero bueno, la industria cinematográfica es un reflejo más de la herencia patriarcal.

[Enrique (TheEssentialBooks.com) · Rating 4 out of 5]

«Entender mejor el cine»

Mi último artículo que habla, entre otros, de este libro.

http://theessentialbooks.com/es/blog/...

¡Espero que os guste!

:)

[Román Cerisuelo · Rating 2 out of 5]

Feia mesos que no havia pogut llegir res per pur plaer. Ara estic gaudint d'uns dies de llegir qualsevol cosa, sense més, sense haver d'estudiar, sense haver d'investigar, sense haver d'extreure'n dades, només pel plaer de llegir el que em trobe de sobte i m'abelleix llegir.
He rellegit aquest llibre d'entrevistes a directors de cinema, a mi que em costa tant veure una pel·li. però sempre em resulta interessant llegir reflexions de creadors.

Woody Allen

"El problema, creo, es que hay poca cosa que realmente puedas enseñar y no quise desanimarlos. Porque la verdad es que o lo tienes o no lo tienes. Si no lo tienes, puedes pasarte la vida estudiando que no vas a sacar nada en claro. No vas a convertirte en mejor cineasta por eso. Y si lo tienes, enseguida aprenderás a utilizar las pocas herramientas que necesitas. De todas formas, gran parte de lo que necesitas, como director, es ayuda psicológica. Equilibrio, disciplina, cosas así. El aspecto técnico viene después. Muchos artistas con talento acaban destruidos por las neurosis, las dudas y la angustia o permiten que demasiadas cosas exteriores les distraigan. Ahí radica el peligro y ésos son los elementos que un escritor o un cineasta debe tratar de dominar primero."

"hay muchos errores que un director siempre debe tratar de no cometer. Posiblemente el primero que se me ocurre sea el evitar hacer algo que no aporte nada a tu visión. Sucede muchas veces, en plena filmación de una película, que se te ocurre una idea inteligente o algo que quieres probar. Pero si esa idea no pertenece a la película, debes tener la honestidad, la integridad, de descartarla."

Oliver Stone

"UNA PELÍCULA ES UN PUNTO DE VISTA: EL RESTO NO ES MÁS QUE DECORADO Lo más importante que necesita un director es un punto de vista. Cuando ves una película, si estás atento, lo que es realmente interesante es el pensamiento que se desarrolló detrás. El resto es…, sencillamente, decorado. Incluso el guión."

Wong Kar-Wai

"para ser director, tienes que ser sincero; no con los demás, sino contigo mismo. Tienes que saber por qué estás haciendo una película; tienes que saber cuándo estás cometiendo un error y no echar la culpa a los demás."

[marco renzi · Rating 4 out of 5]

[BREVE LEZIONE DI CINEMA]

Una interessante operazione, quella del critico e cineasta francese Laurent Tirard; senza dubbio stimolante per chi segue il cinema e per chi vorrebbe capire di più sul lavoro del regista, per ribadire ancora una volta l'importanza determinante dell'uomo che sta dietro la macchina da presa e che ha l'ultima parola su tutto, anche se spesso e volentieri a molti di loro garberebbe avere anche il final cut, ossia il montaggio finale.

Peccato, ad esempio, che l'intervista a Kassovitz sia stata fatta prima dell'uscita di "Babylon A.D.": sarebbe stato bello leggere le imprecazioni del regista-attore dopo l'uscita di un film del tutto trasfigurato dal montaggio dei produttori. Rimangono comunque tra quelle da ricordare, assieme a molte altre, le risposte di Kassovitz, che spiega ad esempio come ha lavorato ad alcune scene del bellissimo "La haine", raccontando anche di alcune difficoltà incontrate sul set di "I fiumi di porpora", film secondo me poco riuscito, ma di cui ricordo pochissimo.

In un libro così, fa comunque specie vedere così tanti registi, più o meno "grandi", fornire risposte tanto diverse a domande all'incirca sempre uguali, come a voler dire che per fare del buon cinema non esistono regole troppo ferree: c'è una grammatica, è vero; ma il grande autore è spesso chiamato a infrangerla, come spiegano queste testimonianze.

Tim Burton, ad esempio, non scrive mai i propri film, ma ne segue con attenzione il soggetto e la sceneggiatura sin dal principio; una cosa che forse ha smesso di fare, vista la qualità delle ultime sue prove.

Non mi hanno stupito più di tanto le risposte di Scorsese e Woody Allen, che avevo letto più volte in altri libri o giornali; mentre ho trovato splendidamente preparato sulla storia del cinema, nonché assai analitico, il grande Michael Mann. I Coen al solito sono dei pazzi, e scrive Tirard che hanno dovuto registrare da capo l'intervista perché della prima non si capiva nulla.
Lynch, in qualche modo, finisce sempre per essere un mito: un arista visionario, complesso e stratificato, oscuro e inquietante che di persona si rivela una persona posata e un simpaticone di prima categoria. Lo sapevo già, ma è sempre bello riscoprirlo.

Figurano poi i nomi di Kitano, Cronenberg, Bertolucci, Pollack, Inarritu, Almodovar, Forman, Wong Kar-wai e altri ancora: impossibile elencare le sottigliezze insite nei loro suggerimenti ai giovani cineasti, al loro modo di utilizzare il mezzo cinematografico, passando per la direzione degli attori, il montaggio, la fotografia, il lavoro sul set.

In ogni capitolo troviamo comunque degli spunti che poi si concretizzano, nel più dei casi, nelle filmografie dei registi intervistati, da rivedere (o da vedere per la prima volta) alla luce delle loro - mai banali - risposte.

[Robin · Rating 3 out of 5]

Interesting in that it enables you to compare and contrast answers to identical questions from deeply non-identical filmmakers. It's interesting how often 'instinct' comes up as the guiding principle for filmmaking decisions, and how often successful directors fall inadvertently into the craft. It's also good that the book doesn't shy away from technical stuff like focal lengths, which often contribute to defining directors' voices. As well, there is a fair cross-section of directors here.

That said, the French providence of these interviews (in the French magazine Studio) colours proceedings. Many of the interviews descend into pretentious drivel which contrasts amusingly with Tirard's attempts to introduce them as serious and significant. As well, the selection of the interviewees skews towards French sensibilities. Tirard eschews truly successful and popular directors in favour of indie darlings (i.e. the kind that will produce pretentious drivel). You get a few heavy hitters here, like Scorsese and Stone, but there are many directors curiously elided, chiefly Spielberg, Lucas, Coppola, Reiner, Lumet, Weir, Hughes, or modern choices like Fincher (Se7en was out by this point), either Scott, Boyle, or older masters like Bergman or Kurosawa, who were still extant if not active at the time of the interviews (the 1990s). Hell, even purveyors of schlock like Corman and Emmerich would help provide variety.

So this book certainly has some insightful and interesting moments, but there's also a lot of obnoxious waffle you have to get through to get there. This may have been ameliorated by choosing a more diverse sample of auteurs.

[Aloysiusi Lionel · Rating 5 out of 5]

The twenty filmmakers in this book, published by Faber and Faber in 2002, had four things in common. One, although they supported the concept of film school as the stepping stone for aspiring directors, they firmly believe that only "making" films, plus the apprenticeship therein, is what would launch a director to the authenticity and success of his craft. Two, given that they adored the works of D.W. Griffith, Orson Welles, Federico Fellini, Jean Renoir and the rest of the generation of filmmakers before them, they in their lives have also attempted to dismantle the conventions, out of the insatiable thirst for uniqueness. Three, they regard the camera as the central eye of the process and thus believe that every movement of the lens is operative to how the target audience would receive the film. And lastly, they made the films for themselves; the self should come first in the enjoyment of the art being created; what the self enjoys becomes what the audience would find interesting and remarkable. All these I discovered and reflected upon reading this magnificent collection of interviews done by Laurent Tirard, when he worked for the French film magazine, Studio. I chanced upon this gem while rummaging for good BookSale finds, and this is a perfect nonfiction book for me who happens to be a frustrated film critic.

[Armando · Rating 4 out of 5]

En ambos volúmenes, el escritor y periodista francés Laurent Tirard entrevista a más de 30 cineastas para cuestionarlos sobre el oficio de ser director y los métodos de trabajo en las diversas etapas de producción; la elección del tema, escritura del guion, dirección de actores y elementos tan básicos como un simple: ¿dónde poner la cámara? Publicadas originalmente en la revista francesa Studio, las conversaciones de Tirard y los directores revelan detalles clave de la creación audiovisual, además de proponer procedimientos para superar obstáculos profesionales y hasta personales dentro del set. Roman Polanski, Martin Scorsese, Win Wenders, Pedro Almodóvar, Atom Egoyan, David Cronenberg, Jean-Pierre Jeunet, David Lynch, Alejandro G. Iñárritu, Joel y Ethan Coen, Takeshi Kitano, Wong Kar-wai, Jean-Luc Godard y Claude Chabrol, entre otros, se confiesan ante un autor ávido de respuestas elocuentes y útiles. Así, mientras Lars Von Trier habla de la espontaneidad del plano, con un estilo entre arrogante y enmarañado, Woody Allen explica de forma pausada y clara su sistema para filmar una escena y el trabajo con los actores. Los libros de Laurent Tirard no sólo son alta prioridad para estudiantes de cine, también encantarán al lector curioso en el quehacer del arte cinematográfico; son páginas que permiten entrar al epicentro mismo de la producción fílmica.

[Annabelle · Rating 2 out of 5]

I felt like I plodded through most of the chapters. 2 and a half stars, really, only Goodreads doesn't do half stars.

I recognized 15 out of 20 directors, and only 3 of whom I can honestly say I've liked their movies. And 2 out of these 3 are the directors whose movies I usually enjoy: Woody Allen and Sydney Pollack.

My impressions, and I'll keep this short:

- Wong Kar -Wai: the most concise interview, seems grounded
- The Coen Brothers: movie geeks-turned-directors--not a bad thing
- Lars von Trier: crass; the guy's full of himself, and sounded like the most boorish interviewee
- Oliver Stone: I expected a diatribe, but the guy's just extra passionate about his work
- Martin Scorcese, Sydney Pollack, John Boorman: the consummate actors' director
- Woody Allen: based on his monologueish interview, the director I'd most want to gofer for

[Filip · Rating 4 out of 5]

Moviemakers Master Class is series of interviews with famous (and some not so famous) film directors on how they approach all aspects of filmmaking. These interviews are very interesting because every filmmaker has its own way of making movies. There is no one universal approach. Rules you learn in film school and screenplay are just guidelines. When they make films they are pressed with different problems ranging from studio interferance to the lighting, camera and actors not doing what they want. There are range of directors interviewed from crime directors like Martin Scorsese and Coen Brothers to the action directors like John Woo. Every one of those guys has different thing they emphesise. Making every film is different experience. My only problem with a book is that interviews are very short. I would like to read more from masters like Scorsese, Milos Forman and Bertolucci.

[Sotiris Dimitrakopoulos · Rating 5 out of 5]

Πάρα πολυ ενδιαφέρον βιβλίο για όσους είναι φαν των ταινιών ή και για όσους θέλουν να πάρουν μια εικόνα απο διάσημους σκηνοθέτες να μιλάνε για την δουλειά τους. Το βιβλίο είναι συνεντεύξεις πολλών διάσημων σκηννοθετών. Οι ερωτήσεις των συνεντεύξεων είναι σχεδόν ίδιες σε όλους αλλά αυτό δεν είναι απαραίτητα κακό καθώς βλέπεις τις διαφορές μεταξύ τους. Είναι πολύ ενδιαφέρον να ακούς πως για παράδιεγμα επιλέγει ένας σκηνοθέτης τους ηθοποιούς του, αν τους κατευθύνει και με ποιό τρόπο, τι φακούς χρησιμοποιεί και αν γράφει τα σενάρια ο ίδιος ή τα παίρνει απο άλλους όπως επίσης και αν προ ετοιμάζονται για τα γυρίσματα και πως.

Πολύ ενδιαφέρον επίσης η συνέντευξη με τον Σκορτσέζε.

Εντύπωση μου έκανε η συμβουλή όλων των σκηνοθετών. Αν σκέφτεσαι οτι θα ήθελες να γυρίσεις μια ταινία, απλά πάρε μια κάμερα και κάντο. Τότε θα δείς αν όντως το θες.

[Alejandro · Rating 4 out of 5]

Reseña de libro, toma 1, 3, 2, 1, ¡acción! En este libro hay muchos directores de cine, mucha teoría y lecciones del séptimo arte. Todo gran cineasta tiene su secreto y una formula mágica para realizar su obra. Algunos directores planifican mucho su tomas, otros reflexionan sobre su toma durante su filmación. Las reglas están para romperse.

Recuerda que cuando ves una película, si estás atento, lo que es realmente interesante es el pensamiento que se desarrolló detrás. Oliver Stone.

Un consejito de David Lynch, no cedas el poder de las decisiones finales, porque, si lo haces, sufrirás muchísimo. Para prueba Dune (1984), una herida que no va a cicatrizar.

Para más tips, lee el libro y disfrut del cine. ¡Corte!

[Andrea Montesano · Rating 4 out of 5]

Mantiene quello che promette nel titolo: 25 lezioni di regia attraverso altrettante interviste a registi importanti, hollywoodiani e non. Mi piace molto quando, in questo tipo di saggi/reportage, si va oltre la teoria e ci vengono i mostri sacri della storia del cinema attraverso aneddoti interessanti e punti di vista variegati. Il lavoro del regista è complesso e a tutto tondo, abbraccia tutti i reparti della macchina del cinema, dal rapporto con gli attori e con la troupe, alla scelta delle location e delle inquadrature, fino alla costruzione dell'atmosfera tramite le luci e il taglia e cuci in sala di montaggio. È il filo conduttore di tutte le varie fasi produttive che danno vita a quello che poi ci viene mostrato sullo schermo.

[Anna Obertan · Rating 3 out of 5]

Hezké povídání od slavných režisérů, je z toho i poznat, kdo má jakou povahu a jak přistupuje ke své práci. Že by to někomu pomohlo v tvorbě vlastního filmu... to si nemyslím, ale je to fajn čtení. Nejlepší rozhovory: Tim Burton, Martin Scorsese, bratři Coenové, John Woo a Jean-Luc Godard. Jestli bych s někým nechtěla pracovat, ačkoliv jeho práci obdivuju, tak je to rozhodně Lars Von Trier.

A taky mě mrzí, že je to dost zaměřeno na francouzské režiséry (ač někteří jsou skvělí, jiné bych do tohohle výběru nezařadila) a chybí tam jiní současní velikáni.

[Jonah Howell · Rating 5 out of 5]

Currently editing my film and in the pits of self doubt, and this compendium of filmmaking wisdom is a big part of how I’m getting through it! Priceless insights from a range of different filmmakers, demonstrating that there are indeed a hundred ways to skin a cat, and none of them are more or less valid than the others. Seeing many filmmakers admit that they don’t know what their film is about until after it’s finished was especially reassuring to hear.

Could do with some more (any) women filmmakers but I guess it’s a sign of the times.

[Pierluigi · Rating 4 out of 5]

È una bella raccolta di interviste e i registi interpellati sono eccezionali. Lo consiglio sia a chi vorrebbe imparare a dirigere - in Italia? Buona fortuna!, sia a chi desidera solo una lettura semplice e interessante. Le interviste non sono molto lunghe, ma gli interessati hanno il tempo di esprimere concetti interessanti.

[Amin369 · Rating 3 out of 5]

بیست کارگردان نامدار میان و از نظرشون درباره آموزش سینما و بعد از اون درباره سبک کاری و نگاهشون حرف میزنن. با خوندنش بیشتر متوجه میشید این کار یه کاره کاملا دلی و شخصیه همون طور که هر کارگردان تو این کتاب ساز خودشو میزنه یکی به یه مدل لنز علاقه داره اون یکی از اون مدل لنز متنفره یا یکی یه شیوه ارتباط با بازیگر داره اون یکی یه چی دیگه. خوندنش میتونه جالب باشه.
مراقب هم باشیم همدیگه رو رها نکنیم.

[Aliaa Talaat · Rating 5 out of 5]

كتاب ممتع للغاية، عبارة عن لقاءات مع مجموعة من أشهر وأهم المخرجين العالميين، جمع بينهم حب السينما والشغف بيها، فعلى الرغم من إختلاف أسالبيهم الأخراجية وإجاباتهم عن أغلب الأسئلة إلا أن الإجابة الموحدة كانت على سؤال ليه بتخرج أفلام؟ وكانت عشان مقدرش مخرجش

[Khonsu · Rating 4 out of 5]

Libro imprescindibile per gli amanti del cinema e dei grandi registi. Una raccolta di interviste ai più grandi maestri della settima arte del nostro tempo, che mi hanno permesso di conoscere meglio il loro pensiero artistico e umano! Consigliato.