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[MUSIC PLAYING]
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I can't emphasize enough
the importance of curiosity.
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I think curiosity is how you're
going to find your stories.
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Curiosity is how you
interact with the world
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and observe how people are.
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Before you can make a film,
you have to have observed life,
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you have to have
lived some life.
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And you have to have to
have been in relationships,
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and you have to have
noted things about people
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and found people just
endlessly fascinating.
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Before you can radiate,
you need to absorb.
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You know, it's the
law of thermodynamics.
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It's the creativity
law of thermodynamics.
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So, you know, you have
to get good people.
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So all right, so you
want to understand
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the basic technologies
of computer animation.
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How does it work?
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What are the steps involved?
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It doesn't just
spring full blown.
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You're going to
start with ideas.
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You're going to
start with design.
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Sometimes it's character design,
sometimes it's creature design.
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Sometimes you'll go through
performance capture.
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Maybe someone is playing
a creature or a character.
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You need to know how to
integrate these things
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with live action
elements if you choose
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to go down that
path of doing highly
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effects oriented filmmaking.
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It's really-- I don't want to
say it's a separate art form,
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because there's a lot of--
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it's a gradient.
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You could be making the most
humanistic simple drama,
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but in order to create
that scene in 1954
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that you want to do, suddenly
you're in the effects world.
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So how are you going to
learn about that stuff?
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Well, to start a lot of the
tools are readily available.
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You can work relatively
cheaply in some
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of the newer visual
effects apps,
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so get some nerdy
friends to come in
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and show you how to do
that, or just sit and watch
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over their shoulder
while they do something
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and learn the language.
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[MUSIC PLAYING]
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Personally, I think
it's really important
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to understand all the jobs
on the set and all the jobs
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associated with making a film.
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So as one is coming
up and trying
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to find your place in the
ecosystem of filmmaking,
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I think it's a really good idea
to try a bit of everything.
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Be the boom operator for
one of your friend's films.
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Understand how cameras work.
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Learn to understand
how lenses work.
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Don't, I think-- don't
fall into the trap
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that a lot of
filmmakers do early
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on when they come to it
from, let's say, writing,
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or they come to it from acting.
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You know-- because there tends
to be this sense of dividing
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the process of filmmaking into
the humanistic, empathetic,
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sort of internal--
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you know, actor and
writing kind of side of it.
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And then there's all that
technical stuff that people do.
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I think it's important to
remember that first of all,
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it's a fusion of
both of those sides.
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And you have to
inhabit that dualism
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where you can speak
to the actors,
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you can talk to the writers, you
understand the inner landscape
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of all the characters.
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And at the same time, you
can ask for a certain lens
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and know what it'll do.
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You can talk to the DP about a
backlight, you know, a desat--
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you know, whatever it is,
whatever stylistically you're
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trying to do.
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I think it's really critical
to not sort of categorize
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oneself going in as
a technical filmmaker
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or humanistic filmmaker,
but understand that they
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are two sides of the
same coin, and you really
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can't be operating in
the role of filmmaker
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without understanding
both sides of those.
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And that's one of the things
that I believe in and try
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to do in my own life--
not get too drawn
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into the technical side of it.
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So the more you have of
the technical expertise--
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it doesn't have to be
expertise like you're
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going to go out
and offer yourself
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to the industry as a top sound
person or a top dolly grip
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or whatever.
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It's enough to be able
to speak the language,
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because the art
of film directing
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is the art of making
it happen in real time,
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at that moment, when
everything has come together.
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[MUSIC PLAYING]
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I think people who are
coming in to film these days
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are shocked to find
out how much is really
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a visual effect these
days, how much of maybe
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the view outside the
window is entirely
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done with green screen,
wasn't there at all.
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So you really can't be--
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this is going to be
a sweeping statement,
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and there will be
people that reject it--
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but it's pretty hard to
be a filmmaker these days
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without being conversant
with simple visual effects,
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putting something
outside a window,
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putting something outside
a car, that sort of thing.
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So you really need
to understand--
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you know, like right now, it
may not look like it because I
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don't know what they're going
to do later in composite,
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but I'm sitting on a green stage
where they can put anything
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they want behind me later.
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So maybe you guys can
switch that off, we
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can see that it's just
a blank green stage.
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And then you can switch it back
on and show what it's like,
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and maybe you didn't even
know that was happening,
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or you suspected it.
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And I think it's important
to know what level of realism
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is required.
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It's important to find
good visual effects people.
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It's important to speak their
language enough that it doesn't
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sound like Greek to you
when they're talking about,
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you know, what they're going
to use as a key-in color.
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Is it going to be green?
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Is it going to be blue?
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How does that affect
your lighting?
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What are they going to need
in terms of the on-set lining
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up of the shots,
because you're going
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to be putting
things in later that
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have to go in the right place.
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So you become very
reliant on those people.
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And if you're not--
if you haven't come up
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in the technology of
visual effects, like I did,
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for example-- because I come
from the technical side--
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you need to find
good people that
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have done good work
on the type of film
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that you're trying to make.
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I've heard filmmaking
described, I think best,
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as you're laying track in
front of a moving train.
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The train is not going to stop.
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And so the decisions that
you make in that real time
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are going to be the
sum total of everything
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you've learned along the way and
your instinct, which I've which
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I've already talked about.
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And to a large extent,
they're kind of irrevocable.
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And it's important
to come prepared.
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Fortune favors
the prepared mind.
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So what's your preparation--
well, you're storyboarding,
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and you're writing,
and you're pre--
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I'd don't want to say
pre-visualization,
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because that's a process
and it's a process
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shared with other people.
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I'm talking about your
pre-imagining of the scene.
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Run that scene in your mind.
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Imagine what it can be.
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Once you're cast, imagine
it with those actors.
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Maybe you don't
have to imagine it.
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Maybe you do a fair
bit of rehearsal,
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maybe you even tape
some of the rehearsals.
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Maybe you tape the
auditions and actually cut
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the scene ahead of time.
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I've done that as well.
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Cut the scene, understand your
scene before you go into it.
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Know what your
important scenes are,
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make sure everyone
else is prepared.
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And I'm not just talking
on the technical side.
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I'm talking with the actors.
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Make sure they're prepared
mentally and emotionally
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for that scene and they
have whatever they need.
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They've had the rehearsal
time that they need
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and that they want.
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And so the more you understand
the trades, the more you
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understand the craft of it--
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work with a DP or become
a DP on a low budget film.
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Understand lighting.
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So this is all the craft.
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This is the technical
craft of filmmaking.
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And I think there are lots of
great books on the subject.
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You can read "American
Cinematographer,"
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which is a good source.
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And there are other
magazines, trade magazines,
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on cinematography.
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Absorb it.
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Be a sponge.
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Learn it all and make
friends with people
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who are interested in
those specific aspects
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of the art, someone who is
an aspiring cinematographer.
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Make friends with
that person and say,
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hey, let's make a film.
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Doesn't even matter-- let's
just make up a story real quick
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and go make a film
and experiment around,
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and get other people
enthusiastic about that
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and come in.
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The only way to learn
it, really, is by doing.
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I think the thing that's
important to remember
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about film is that it's
a collaborative meeting--
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so it's a team, a
bunch of people.
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But somebody needs to lead
that team in real time.
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So the director is kind
of like a war president,
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you know, in the sense
that you don't have time
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to take it out of committee.
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You're dealing with stuff
that's coming out you,
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1,000 questions a day,
1,000 little decisions
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a day-- do another
take, don't do
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another take, do this, do that,
red wardrobe, green wardrobe,
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whatever.
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So it's a system
that sort of rewards,
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in a sense, a kind
of autocratic system.
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And for me
personally, my journey
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around the leadership
of how you do this
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started with me being
you kind of a tin pot
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dictator, because the movie
was the most important thing.
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And everything, everybody
serves the movie.
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And I was the
representative of the movie.
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And so I think I
was rough on people.
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I don't think I was cruel.
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00:10:04,980 --> 00:10:07,410
I was just rough because
the pace of events
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demanded it and all
that sort of thing.
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But what I've
learned over time is
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that people don't
do their best work
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00:10:14,400 --> 00:10:19,450
if they're not respected and
appreciated and have a voice.
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00:10:19,450 --> 00:10:24,420
And so if I've learned
one thing that I
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00:10:24,420 --> 00:10:26,980
would like to go back
and do differently,
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00:10:26,980 --> 00:10:29,130
It's not necessarily
the choice of lenses
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or the choice of
dialogue or anything
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within the films themselves.
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It's the nature of the
working relationship.
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I could have listened more.
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00:10:39,930 --> 00:10:42,810
I could have been
less autocratic.
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I could have not
made the movie more
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00:10:44,700 --> 00:10:50,040
important than the human
interaction of the crew.
228
00:10:50,040 --> 00:10:54,000
And it shouldn't be, because
I think when we start out
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as filmmakers, we tend to think
that the movie's the world,
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and it isn't.
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And years later, you realize,
well, I'm still here,
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and all those people are still
around, and the movie is--
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everybody's forgotten it.
234
00:11:07,380 --> 00:11:09,540
You know, I think somebody
like Ron Howard, who
235
00:11:09,540 --> 00:11:12,090
is innately a team
player, who came up
236
00:11:12,090 --> 00:11:14,640
in the culture of
a television show
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from the time he was a
kid, he's great at it.
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00:11:17,310 --> 00:11:19,830
When I first saw him
work, I was dumbfounded.
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00:11:19,830 --> 00:11:24,600
It's like, wow, he takes a lot
of time complimenting people.
240
00:11:24,600 --> 00:11:27,900
You know, what's
he on about here?
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00:11:27,900 --> 00:11:33,570
And I aspire to,
even to today, to try
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00:11:33,570 --> 00:11:35,580
to be my inner Ron Howard.
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00:11:35,580 --> 00:11:36,400
Thanks guys.
244
00:11:36,400 --> 00:11:36,970
Well done.
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00:11:36,970 --> 00:11:38,598
Fun, fun, fun.
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And I've told him
this, by the way.
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This is no secret--
248
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because I think
that's how it's done.
249
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And he's a great filmmaker,
he's a fine filmmaker.
250
00:11:46,050 --> 00:11:49,032
So the two are not
mutually exclusive.
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[MUSIC PLAYING]
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The other aspect of leadership
is you have to inspire.
253
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And you inspire
by communicating.
254
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If you're not
passionate about it,
255
00:12:03,330 --> 00:12:04,942
if you're kind of
phoning it in or you
256
00:12:04,942 --> 00:12:06,900
don't know how to express
that, or you sit back
257
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with a kind of a blank
face, why are other people
258
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going to be excited about it?
259
00:12:11,590 --> 00:12:13,860
You've got to get
people excited about it.
260
00:12:13,860 --> 00:12:17,183
And you-- and I don't care
if it's day 100 of a shoot.
261
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And if you're
starting out, you're
262
00:12:18,600 --> 00:12:22,483
probably a ways away from that,
but trust me, you'll get there.
263
00:12:22,483 --> 00:12:24,150
I don't care if it's
day 100 of a shoot.
264
00:12:24,150 --> 00:12:26,040
You got to come in
with that enthusiasm.
265
00:12:26,040 --> 00:12:29,040
You got to have that
lightness in your step.
266
00:12:29,040 --> 00:12:32,310
You've got to see the wonder
that's happening right in front
267
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of you and be excited by it.
268
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You know-- and run in.
269
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I've run into a shot
when the camera's still
270
00:12:38,670 --> 00:12:41,130
rolling and hugged the actor.
271
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You know, what you
just did is fantastic.
272
00:12:43,800 --> 00:12:46,410
You know-- oh, cut, by the way.
273
00:12:46,410 --> 00:12:46,950
Share it.
274
00:12:46,950 --> 00:12:50,230
Share the joy of creation.
275
00:12:50,230 --> 00:12:55,020
And I think it takes a
while to be secure enough
276
00:12:55,020 --> 00:12:56,601
to be able to do that.
277
00:12:56,601 --> 00:12:57,543
[MUSIC PLAYING]
278
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Film is about compromise.
279
00:13:05,560 --> 00:13:07,780
It's all about compromise.
280
00:13:07,780 --> 00:13:11,200
But it's not compromising
from some crystal
281
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vision that already exists.
282
00:13:12,900 --> 00:13:16,390
I always say it's a process of
working with a group of people
283
00:13:16,390 --> 00:13:20,890
to get that picture to come
more and more into focus.
284
00:13:20,890 --> 00:13:23,230
So I can use the
example of creating
285
00:13:23,230 --> 00:13:26,650
elements for a fantasy
world, or a science fiction
286
00:13:26,650 --> 00:13:29,770
world, and a whole bunch of
designs start to come in.
287
00:13:29,770 --> 00:13:31,485
And you work with artists.
288
00:13:31,485 --> 00:13:32,860
And you look at
something and you
289
00:13:32,860 --> 00:13:34,030
say, oh, that's interesting.
290
00:13:34,030 --> 00:13:35,280
I hadn't seen it that way.
291
00:13:35,280 --> 00:13:36,267
Let's pursue that idea.
292
00:13:36,267 --> 00:13:38,350
And somebody else would
come with a different try,
293
00:13:38,350 --> 00:13:39,910
and say, well, that's
kind of interesting too.
294
00:13:39,910 --> 00:13:40,868
Let's pursue that idea.
295
00:13:40,868 --> 00:13:43,870
At a certain point,
one speaks to you
296
00:13:43,870 --> 00:13:46,930
a little more than the other
and you make a decision.
297
00:13:46,930 --> 00:13:50,780
And ultimately, all those
decisions are binary.
298
00:13:50,780 --> 00:13:55,540
They're one or the other
and they're forever.
299
00:13:55,540 --> 00:13:58,540
You know, and you can't let
the forever of it weigh on you.
300
00:13:58,540 --> 00:14:00,670
You just have to
make it a fun, kind
301
00:14:00,670 --> 00:14:03,880
of vigorous creative process,
because the second you bog down
302
00:14:03,880 --> 00:14:04,420
on--
303
00:14:04,420 --> 00:14:06,460
shit, what I just
decided I'm going
304
00:14:06,460 --> 00:14:08,570
to have to live with
for the rest of my life,
305
00:14:08,570 --> 00:14:10,030
you'll never get anywhere.
306
00:14:10,030 --> 00:14:13,270
You just have to kind of
keep your heart in the game.
307
00:14:13,270 --> 00:14:14,530
You make it fun.
308
00:14:14,530 --> 00:14:16,360
You encourage other people.
309
00:14:16,360 --> 00:14:19,570
And you make decisions at a
kind of instinctive level.
310
00:14:19,570 --> 00:14:23,560
But that instinct is well
cultivated over time.
311
00:14:23,560 --> 00:14:27,970
It really consists of every
film you've ever watched
312
00:14:27,970 --> 00:14:29,710
and either enjoyed
or didn't like,
313
00:14:29,710 --> 00:14:32,170
but saw something in
it that was cool--
314
00:14:32,170 --> 00:14:36,500
every book you ever read,
every dream you've ever had.
315
00:14:36,500 --> 00:14:38,050
And by dream, I
don't mean ambition.
316
00:14:38,050 --> 00:14:40,960
I mean, the actual
mental process
317
00:14:40,960 --> 00:14:45,550
of stringing together random
images and bits of narrative
318
00:14:45,550 --> 00:14:47,680
in your head all night
long every night.
319
00:14:47,680 --> 00:14:50,170
And I think that's
something that one
320
00:14:50,170 --> 00:14:55,270
needs to learn to believe in,
to listen to and believe in,
321
00:14:55,270 --> 00:14:58,450
because it's really the sum
total of all your inputs
322
00:14:58,450 --> 00:15:03,015
and all of your likes
up until that point.
323
00:15:03,015 --> 00:15:03,985
[MUSIC PLAYING]
324
00:15:08,840 --> 00:15:12,830
It's people that are
rabid scared and rigid,
325
00:15:12,830 --> 00:15:14,990
and holding onto
their storyboards
326
00:15:14,990 --> 00:15:18,800
like this, that can't see the
magic and can't incorporate it.
327
00:15:18,800 --> 00:15:20,600
So you got to get past that.
328
00:15:20,600 --> 00:15:22,130
Yes, you got to be prepared.
329
00:15:22,130 --> 00:15:23,760
You've got to come
in with a plan.
330
00:15:23,760 --> 00:15:26,060
And sometimes that's
the only thing
331
00:15:26,060 --> 00:15:28,400
that keeps the day going along.
332
00:15:28,400 --> 00:15:29,685
You know, go to--
333
00:15:29,685 --> 00:15:31,310
we're doing shot five
on the shot list,
334
00:15:31,310 --> 00:15:32,390
it's right here in
the storyboards.
335
00:15:32,390 --> 00:15:34,807
And everybody's happy because
they know what you're doing.
336
00:15:34,807 --> 00:15:36,470
But it doesn't have to be that.
337
00:15:36,470 --> 00:15:37,860
It's your film.
338
00:15:37,860 --> 00:15:39,507
You can do anything you want.
339
00:15:39,507 --> 00:15:41,840
You can take that out or you
can do something different,
340
00:15:41,840 --> 00:15:44,630
or maybe the actors come in
with some really cool idea,
341
00:15:44,630 --> 00:15:46,470
or something happens
in rehearsal.
342
00:15:46,470 --> 00:15:51,092
Rehearsal's a great, highly
fertile time to see new ideas.
343
00:15:51,092 --> 00:15:52,550
So you let the cast
off their leash
344
00:15:52,550 --> 00:15:54,648
and they'll come up with
all kinds of crazy stuff.
345
00:15:54,648 --> 00:15:56,690
And I've always been
attracted to the actors that
346
00:15:56,690 --> 00:15:58,350
are the most inventive.
347
00:15:58,350 --> 00:16:00,350
You know, Bill Paxson
being a very good example.
348
00:16:00,350 --> 00:16:02,892
He'd come in, he'd have thought
for months about the dialogue
349
00:16:02,892 --> 00:16:03,650
he wanted to do.
350
00:16:03,650 --> 00:16:06,680
He'd be constantly saying, I
could do this, I could do that.
351
00:16:06,680 --> 00:16:11,150
I'd throw out nine tenths
of it and keep that 10%,
352
00:16:11,150 --> 00:16:13,070
and the movie was better for it.
353
00:16:13,070 --> 00:16:15,530
You know, when he says,
what are we going to do now,
354
00:16:15,530 --> 00:16:17,390
we're in some real
pretty shit now--
355
00:16:17,390 --> 00:16:19,850
you know, that whole rant
that he does in "Aliens,"
356
00:16:19,850 --> 00:16:22,010
he just kind of riffed that up.
357
00:16:22,010 --> 00:16:26,780
You know, you got to keep
your eyes open for the magic.
358
00:16:26,780 --> 00:16:31,310
And I think the most important
thing is every single day,
359
00:16:31,310 --> 00:16:34,010
working with your actors,
lightning is striking.
360
00:16:34,010 --> 00:16:35,245
How do you bottle it?
361
00:16:35,245 --> 00:16:36,620
How do you bottle
that lightning?
362
00:16:36,620 --> 00:16:38,060
You can't predict
what an actor is
363
00:16:38,060 --> 00:16:42,530
going to do or say, or just a
little gesture that they do,
364
00:16:42,530 --> 00:16:46,280
or color that they add to
a line that was not maybe
365
00:16:46,280 --> 00:16:47,690
the intention of
the line at all,
366
00:16:47,690 --> 00:16:52,580
but it comes out of left field
and all of a sudden, that fits.
367
00:16:52,580 --> 00:16:53,240
That fits.
368
00:16:53,240 --> 00:16:54,790
That's better.
369
00:16:54,790 --> 00:16:57,740
And when they sit around
in film studies classes,
370
00:16:57,740 --> 00:17:01,480
and you read all the
cahiers du cinema stuff,
371
00:17:01,480 --> 00:17:05,170
and they talk about all
these brilliant things
372
00:17:05,170 --> 00:17:08,710
that filmmakers do, they
tend to forget the fact
373
00:17:08,710 --> 00:17:12,460
that most of those movies
didn't have very big budgets.
374
00:17:12,460 --> 00:17:16,390
And people were just doing what
they could do in the moment,
375
00:17:16,390 --> 00:17:18,520
and something great
came out of it.
376
00:17:18,520 --> 00:17:22,300
It's not quite the
highly precise process
377
00:17:22,300 --> 00:17:23,930
that people think it is.
378
00:17:23,930 --> 00:17:26,020
And a lot of the things
that we applaud in movies
379
00:17:26,020 --> 00:17:28,030
were basically happy
accidents on the day.
380
00:17:28,030 --> 00:17:29,510
And I don't want
to say accidents.
381
00:17:29,510 --> 00:17:34,480
I want to say they were moments
of taking the opportunity,
382
00:17:34,480 --> 00:17:36,190
seeing something
happening, maybe
383
00:17:36,190 --> 00:17:39,340
some particular configuration
of where the sun was
384
00:17:39,340 --> 00:17:41,405
at the location, at the time.
385
00:17:41,405 --> 00:17:43,030
And instead of doing
the shot that way,
386
00:17:43,030 --> 00:17:45,340
you decide to move
everything over to here
387
00:17:45,340 --> 00:17:46,810
to take advantage of it.
388
00:17:46,810 --> 00:17:49,510
All filmmaking is kind
of combat in the sense
389
00:17:49,510 --> 00:17:52,900
that you're going into a
highly fluid situation.
390
00:17:52,900 --> 00:17:57,580
Instead of having a defined
enemy, your enemy is entropy.
391
00:17:57,580 --> 00:18:00,910
Your enemy is that
tendency of the universe
392
00:18:00,910 --> 00:18:03,310
to go from a state
of order to disorder.
393
00:18:03,310 --> 00:18:07,480
But you can be prepared to the
extent that you have confidence
394
00:18:07,480 --> 00:18:09,440
and you have options.
395
00:18:09,440 --> 00:18:13,440
You can switch, you can switch
track, you can go around.
396
00:18:13,440 --> 00:18:17,170
I mean, I think of filmmaking
like water flowing inevitably
397
00:18:17,170 --> 00:18:17,670
downhill.
398
00:18:17,670 --> 00:18:20,760
It goes around rocks,
doesn't go through,
399
00:18:20,760 --> 00:18:22,710
so you've got to go
around the obstacles.
400
00:18:22,710 --> 00:18:25,370
You've got to be
that flowing water.
32186
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