As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.
Bernardo BertolucciRead
When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
Interpretation
The quote emphasizes the deep connection between an actor's life experiences and the characters they portray.
In this quote, Bernardo Bertolucci reflects on the process of filmmaking and the intimate relationship between an actor's real-life experiences and their portrayal of a character. He emphasizes the importance of understanding the actor's physicality and emotional depth, as the character initially exists only in writing. By drawing from the actors' lives, Bertolucci suggests that authenticity and a deeper layer of truth can be brought to the performance.
In practice
In a film studies class when discussing the importance of character preparation.
As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.
What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that 'The Conformist' is their first modern influence.
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life.
I remember being young in the 1960s... we had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.
For American filmmakers, the Oscars is like a mystic thing. For me, it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent.
If I don't fall in love with my characters, I cannot shoot.
Indie world won't have me, and mainstream world treats me like an alien, but here I am still floating between these two worlds.
Photographs are a way of imprisoning reality, understood as recalcitrant, inaccessible; of making it stand still. One can't possess reality, one can possess (and be possessed by) images — as, according to Proust, most ambitious of voluntary prisoners, one can't possess the present but one can possessthe past.
The artist must be in his work as God is in creation, invisible and all-powerful; one must sense him everywhere but never see him.
Creativity is more about taking the facts, fictions, and feelings we store away and finding new ways to connect them. What we're talking about here is metaphor. Metaphor is the lifeblood of all art, if it is not art itself. Metaphor is our vocabulary for connecting what we are experiencing now with what we have experienced before. It's not only how we express what we remember , it's how we interpret it - for ourselves and others.
It is the duty of the younger Negro artist . . . to change through the force of his art that old whispering "I want to be white," hidden in the aspirations of his people, to "Why should I want to be white? I am a Negro - and beautiful!"
I've always felt like I was an actor for hire. And almost apologetic for being a woman of color, trying to stifle that voice. But I don't feel that way in Shondaland. I feel like I am accepted into a world where I'm a part of the narrative - I'm a part of it.
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