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These are the user uploaded subtitles that are being translated: 1 00:00:03,423 --> 00:00:04,401 [MUSIC PLAYING] 2 00:00:16,140 --> 00:00:21,240 I can't emphasize enough the importance of curiosity. 3 00:00:21,240 --> 00:00:24,030 I think curiosity is how you're going to find your stories. 4 00:00:24,030 --> 00:00:29,310 Curiosity is how you interact with the world 5 00:00:29,310 --> 00:00:31,920 and observe how people are. 6 00:00:31,920 --> 00:00:35,430 Before you can make a film, you have to have observed life, 7 00:00:35,430 --> 00:00:37,080 you have to have lived some life. 8 00:00:37,080 --> 00:00:39,480 And you have to have to have been in relationships, 9 00:00:39,480 --> 00:00:42,630 and you have to have noted things about people 10 00:00:42,630 --> 00:00:46,440 and found people just endlessly fascinating. 11 00:00:46,440 --> 00:00:49,860 Before you can radiate, you need to absorb. 12 00:00:49,860 --> 00:00:52,470 You know, it's the law of thermodynamics. 13 00:00:52,470 --> 00:00:55,330 It's the creativity law of thermodynamics. 14 00:00:55,330 --> 00:00:58,900 So, you know, you have to get good people. 15 00:00:58,900 --> 00:01:00,990 So all right, so you want to understand 16 00:01:00,990 --> 00:01:05,190 the basic technologies of computer animation. 17 00:01:05,190 --> 00:01:06,520 How does it work? 18 00:01:06,520 --> 00:01:08,250 What are the steps involved? 19 00:01:08,250 --> 00:01:11,340 It doesn't just spring full blown. 20 00:01:11,340 --> 00:01:12,750 You're going to start with ideas. 21 00:01:12,750 --> 00:01:14,730 You're going to start with design. 22 00:01:14,730 --> 00:01:18,180 Sometimes it's character design, sometimes it's creature design. 23 00:01:18,180 --> 00:01:20,310 Sometimes you'll go through performance capture. 24 00:01:20,310 --> 00:01:23,850 Maybe someone is playing a creature or a character. 25 00:01:23,850 --> 00:01:26,160 You need to know how to integrate these things 26 00:01:26,160 --> 00:01:28,680 with live action elements if you choose 27 00:01:28,680 --> 00:01:32,550 to go down that path of doing highly 28 00:01:32,550 --> 00:01:35,280 effects oriented filmmaking. 29 00:01:35,280 --> 00:01:37,740 It's really-- I don't want to say it's a separate art form, 30 00:01:37,740 --> 00:01:39,150 because there's a lot of-- 31 00:01:39,150 --> 00:01:40,410 it's a gradient. 32 00:01:40,410 --> 00:01:44,670 You could be making the most humanistic simple drama, 33 00:01:44,670 --> 00:01:48,450 but in order to create that scene in 1954 34 00:01:48,450 --> 00:01:52,042 that you want to do, suddenly you're in the effects world. 35 00:01:52,042 --> 00:01:54,000 So how are you going to learn about that stuff? 36 00:01:54,000 --> 00:01:58,230 Well, to start a lot of the tools are readily available. 37 00:01:58,230 --> 00:02:02,190 You can work relatively cheaply in some 38 00:02:02,190 --> 00:02:04,200 of the newer visual effects apps, 39 00:02:04,200 --> 00:02:07,410 so get some nerdy friends to come in 40 00:02:07,410 --> 00:02:09,900 and show you how to do that, or just sit and watch 41 00:02:09,900 --> 00:02:12,420 over their shoulder while they do something 42 00:02:12,420 --> 00:02:14,220 and learn the language. 43 00:02:14,220 --> 00:02:15,624 [MUSIC PLAYING] 44 00:02:20,602 --> 00:02:22,310 Personally, I think it's really important 45 00:02:22,310 --> 00:02:25,970 to understand all the jobs on the set and all the jobs 46 00:02:25,970 --> 00:02:28,200 associated with making a film. 47 00:02:28,200 --> 00:02:30,770 So as one is coming up and trying 48 00:02:30,770 --> 00:02:35,420 to find your place in the ecosystem of filmmaking, 49 00:02:35,420 --> 00:02:38,600 I think it's a really good idea to try a bit of everything. 50 00:02:38,600 --> 00:02:41,630 Be the boom operator for one of your friend's films. 51 00:02:41,630 --> 00:02:43,400 Understand how cameras work. 52 00:02:43,400 --> 00:02:45,680 Learn to understand how lenses work. 53 00:02:45,680 --> 00:02:47,900 Don't, I think-- don't fall into the trap 54 00:02:47,900 --> 00:02:51,140 that a lot of filmmakers do early 55 00:02:51,140 --> 00:02:53,900 on when they come to it from, let's say, writing, 56 00:02:53,900 --> 00:02:55,850 or they come to it from acting. 57 00:02:55,850 --> 00:02:59,630 You know-- because there tends to be this sense of dividing 58 00:02:59,630 --> 00:03:04,910 the process of filmmaking into the humanistic, empathetic, 59 00:03:04,910 --> 00:03:06,920 sort of internal-- 60 00:03:06,920 --> 00:03:10,940 you know, actor and writing kind of side of it. 61 00:03:10,940 --> 00:03:13,770 And then there's all that technical stuff that people do. 62 00:03:13,770 --> 00:03:16,490 I think it's important to remember that first of all, 63 00:03:16,490 --> 00:03:18,890 it's a fusion of both of those sides. 64 00:03:18,890 --> 00:03:22,070 And you have to inhabit that dualism 65 00:03:22,070 --> 00:03:25,130 where you can speak to the actors, 66 00:03:25,130 --> 00:03:30,560 you can talk to the writers, you understand the inner landscape 67 00:03:30,560 --> 00:03:31,640 of all the characters. 68 00:03:31,640 --> 00:03:35,272 And at the same time, you can ask for a certain lens 69 00:03:35,272 --> 00:03:36,230 and know what it'll do. 70 00:03:36,230 --> 00:03:41,120 You can talk to the DP about a backlight, you know, a desat-- 71 00:03:41,120 --> 00:03:44,780 you know, whatever it is, whatever stylistically you're 72 00:03:44,780 --> 00:03:46,400 trying to do. 73 00:03:46,400 --> 00:03:49,400 I think it's really critical to not sort of categorize 74 00:03:49,400 --> 00:03:52,400 oneself going in as a technical filmmaker 75 00:03:52,400 --> 00:03:55,310 or humanistic filmmaker, but understand that they 76 00:03:55,310 --> 00:03:57,920 are two sides of the same coin, and you really 77 00:03:57,920 --> 00:04:01,790 can't be operating in the role of filmmaker 78 00:04:01,790 --> 00:04:04,610 without understanding both sides of those. 79 00:04:04,610 --> 00:04:08,000 And that's one of the things that I believe in and try 80 00:04:08,000 --> 00:04:12,620 to do in my own life-- not get too drawn 81 00:04:12,620 --> 00:04:14,130 into the technical side of it. 82 00:04:14,130 --> 00:04:17,578 So the more you have of the technical expertise-- 83 00:04:17,578 --> 00:04:19,370 it doesn't have to be expertise like you're 84 00:04:19,370 --> 00:04:21,470 going to go out and offer yourself 85 00:04:21,470 --> 00:04:24,650 to the industry as a top sound person or a top dolly grip 86 00:04:24,650 --> 00:04:26,120 or whatever. 87 00:04:26,120 --> 00:04:29,210 It's enough to be able to speak the language, 88 00:04:29,210 --> 00:04:31,490 because the art of film directing 89 00:04:31,490 --> 00:04:34,370 is the art of making it happen in real time, 90 00:04:34,370 --> 00:04:37,851 at that moment, when everything has come together. 91 00:04:37,851 --> 00:04:39,294 [MUSIC PLAYING] 92 00:04:43,670 --> 00:04:47,250 I think people who are coming in to film these days 93 00:04:47,250 --> 00:04:49,950 are shocked to find out how much is really 94 00:04:49,950 --> 00:04:53,400 a visual effect these days, how much of maybe 95 00:04:53,400 --> 00:04:55,590 the view outside the window is entirely 96 00:04:55,590 --> 00:04:58,330 done with green screen, wasn't there at all. 97 00:04:58,330 --> 00:05:02,012 So you really can't be-- 98 00:05:02,012 --> 00:05:03,720 this is going to be a sweeping statement, 99 00:05:03,720 --> 00:05:05,428 and there will be people that reject it-- 100 00:05:05,428 --> 00:05:07,500 but it's pretty hard to be a filmmaker these days 101 00:05:07,500 --> 00:05:11,580 without being conversant with simple visual effects, 102 00:05:11,580 --> 00:05:13,140 putting something outside a window, 103 00:05:13,140 --> 00:05:15,713 putting something outside a car, that sort of thing. 104 00:05:15,713 --> 00:05:17,130 So you really need to understand-- 105 00:05:17,130 --> 00:05:19,440 you know, like right now, it may not look like it because I 106 00:05:19,440 --> 00:05:21,210 don't know what they're going to do later in composite, 107 00:05:21,210 --> 00:05:24,120 but I'm sitting on a green stage where they can put anything 108 00:05:24,120 --> 00:05:26,440 they want behind me later. 109 00:05:26,440 --> 00:05:28,290 So maybe you guys can switch that off, we 110 00:05:28,290 --> 00:05:30,870 can see that it's just a blank green stage. 111 00:05:30,870 --> 00:05:33,660 And then you can switch it back on and show what it's like, 112 00:05:33,660 --> 00:05:36,750 and maybe you didn't even know that was happening, 113 00:05:36,750 --> 00:05:38,700 or you suspected it. 114 00:05:38,700 --> 00:05:42,750 And I think it's important to know what level of realism 115 00:05:42,750 --> 00:05:43,410 is required. 116 00:05:43,410 --> 00:05:46,950 It's important to find good visual effects people. 117 00:05:46,950 --> 00:05:51,450 It's important to speak their language enough that it doesn't 118 00:05:51,450 --> 00:05:56,220 sound like Greek to you when they're talking about, 119 00:05:56,220 --> 00:05:59,270 you know, what they're going to use as a key-in color. 120 00:05:59,270 --> 00:06:00,270 Is it going to be green? 121 00:06:00,270 --> 00:06:01,228 Is it going to be blue? 122 00:06:01,228 --> 00:06:02,820 How does that affect your lighting? 123 00:06:02,820 --> 00:06:09,030 What are they going to need in terms of the on-set lining 124 00:06:09,030 --> 00:06:10,680 up of the shots, because you're going 125 00:06:10,680 --> 00:06:12,300 to be putting things in later that 126 00:06:12,300 --> 00:06:14,430 have to go in the right place. 127 00:06:14,430 --> 00:06:17,120 So you become very reliant on those people. 128 00:06:17,120 --> 00:06:18,870 And if you're not-- if you haven't come up 129 00:06:18,870 --> 00:06:21,510 in the technology of visual effects, like I did, 130 00:06:21,510 --> 00:06:24,930 for example-- because I come from the technical side-- 131 00:06:24,930 --> 00:06:26,490 you need to find good people that 132 00:06:26,490 --> 00:06:30,960 have done good work on the type of film 133 00:06:30,960 --> 00:06:32,250 that you're trying to make. 134 00:06:38,550 --> 00:06:41,430 I've heard filmmaking described, I think best, 135 00:06:41,430 --> 00:06:44,250 as you're laying track in front of a moving train. 136 00:06:44,250 --> 00:06:46,450 The train is not going to stop. 137 00:06:46,450 --> 00:06:49,710 And so the decisions that you make in that real time 138 00:06:49,710 --> 00:06:53,250 are going to be the sum total of everything 139 00:06:53,250 --> 00:06:57,030 you've learned along the way and your instinct, which I've which 140 00:06:57,030 --> 00:06:58,410 I've already talked about. 141 00:06:58,410 --> 00:07:01,920 And to a large extent, they're kind of irrevocable. 142 00:07:01,920 --> 00:07:04,710 And it's important to come prepared. 143 00:07:04,710 --> 00:07:07,200 Fortune favors the prepared mind. 144 00:07:07,200 --> 00:07:09,810 So what's your preparation-- well, you're storyboarding, 145 00:07:09,810 --> 00:07:12,115 and you're writing, and you're pre-- 146 00:07:12,115 --> 00:07:14,340 I'd don't want to say pre-visualization, 147 00:07:14,340 --> 00:07:16,200 because that's a process and it's a process 148 00:07:16,200 --> 00:07:17,242 shared with other people. 149 00:07:17,242 --> 00:07:20,460 I'm talking about your pre-imagining of the scene. 150 00:07:20,460 --> 00:07:21,780 Run that scene in your mind. 151 00:07:21,780 --> 00:07:24,090 Imagine what it can be. 152 00:07:24,090 --> 00:07:27,012 Once you're cast, imagine it with those actors. 153 00:07:27,012 --> 00:07:28,470 Maybe you don't have to imagine it. 154 00:07:28,470 --> 00:07:30,720 Maybe you do a fair bit of rehearsal, 155 00:07:30,720 --> 00:07:32,940 maybe you even tape some of the rehearsals. 156 00:07:32,940 --> 00:07:36,600 Maybe you tape the auditions and actually cut 157 00:07:36,600 --> 00:07:37,800 the scene ahead of time. 158 00:07:37,800 --> 00:07:38,850 I've done that as well. 159 00:07:38,850 --> 00:07:44,010 Cut the scene, understand your scene before you go into it. 160 00:07:44,010 --> 00:07:45,630 Know what your important scenes are, 161 00:07:45,630 --> 00:07:47,272 make sure everyone else is prepared. 162 00:07:47,272 --> 00:07:49,230 And I'm not just talking on the technical side. 163 00:07:49,230 --> 00:07:50,520 I'm talking with the actors. 164 00:07:50,520 --> 00:07:54,120 Make sure they're prepared mentally and emotionally 165 00:07:54,120 --> 00:07:56,210 for that scene and they have whatever they need. 166 00:07:56,210 --> 00:07:58,500 They've had the rehearsal time that they need 167 00:07:58,500 --> 00:08:00,460 and that they want. 168 00:08:00,460 --> 00:08:03,720 And so the more you understand the trades, the more you 169 00:08:03,720 --> 00:08:05,730 understand the craft of it-- 170 00:08:05,730 --> 00:08:09,150 work with a DP or become a DP on a low budget film. 171 00:08:09,150 --> 00:08:11,020 Understand lighting. 172 00:08:11,020 --> 00:08:12,510 So this is all the craft. 173 00:08:12,510 --> 00:08:14,610 This is the technical craft of filmmaking. 174 00:08:14,610 --> 00:08:17,280 And I think there are lots of great books on the subject. 175 00:08:17,280 --> 00:08:19,410 You can read "American Cinematographer," 176 00:08:19,410 --> 00:08:20,640 which is a good source. 177 00:08:20,640 --> 00:08:23,460 And there are other magazines, trade magazines, 178 00:08:23,460 --> 00:08:25,650 on cinematography. 179 00:08:25,650 --> 00:08:27,030 Absorb it. 180 00:08:27,030 --> 00:08:28,710 Be a sponge. 181 00:08:28,710 --> 00:08:31,230 Learn it all and make friends with people 182 00:08:31,230 --> 00:08:36,299 who are interested in those specific aspects 183 00:08:36,299 --> 00:08:40,096 of the art, someone who is an aspiring cinematographer. 184 00:08:40,096 --> 00:08:41,679 Make friends with that person and say, 185 00:08:41,679 --> 00:08:42,900 hey, let's make a film. 186 00:08:42,900 --> 00:08:46,260 Doesn't even matter-- let's just make up a story real quick 187 00:08:46,260 --> 00:08:48,840 and go make a film and experiment around, 188 00:08:48,840 --> 00:08:51,060 and get other people enthusiastic about that 189 00:08:51,060 --> 00:08:51,900 and come in. 190 00:08:51,900 --> 00:08:55,290 The only way to learn it, really, is by doing. 191 00:09:01,543 --> 00:09:03,460 I think the thing that's important to remember 192 00:09:03,460 --> 00:09:06,080 about film is that it's a collaborative meeting-- 193 00:09:06,080 --> 00:09:07,840 so it's a team, a bunch of people. 194 00:09:07,840 --> 00:09:12,320 But somebody needs to lead that team in real time. 195 00:09:12,320 --> 00:09:15,340 So the director is kind of like a war president, 196 00:09:15,340 --> 00:09:17,410 you know, in the sense that you don't have time 197 00:09:17,410 --> 00:09:18,700 to take it out of committee. 198 00:09:18,700 --> 00:09:20,950 You're dealing with stuff that's coming out you, 199 00:09:20,950 --> 00:09:24,610 1,000 questions a day, 1,000 little decisions 200 00:09:24,610 --> 00:09:26,020 a day-- do another take, don't do 201 00:09:26,020 --> 00:09:29,080 another take, do this, do that, red wardrobe, green wardrobe, 202 00:09:29,080 --> 00:09:29,770 whatever. 203 00:09:29,770 --> 00:09:32,440 So it's a system that sort of rewards, 204 00:09:32,440 --> 00:09:37,120 in a sense, a kind of autocratic system. 205 00:09:37,120 --> 00:09:39,430 And for me personally, my journey 206 00:09:39,430 --> 00:09:44,320 around the leadership of how you do this 207 00:09:44,320 --> 00:09:47,980 started with me being you kind of a tin pot 208 00:09:47,980 --> 00:09:52,890 dictator, because the movie was the most important thing. 209 00:09:52,890 --> 00:09:56,130 And everything, everybody serves the movie. 210 00:09:56,130 --> 00:09:59,920 And I was the representative of the movie. 211 00:09:59,920 --> 00:10:03,540 And so I think I was rough on people. 212 00:10:03,540 --> 00:10:04,980 I don't think I was cruel. 213 00:10:04,980 --> 00:10:07,410 I was just rough because the pace of events 214 00:10:07,410 --> 00:10:10,090 demanded it and all that sort of thing. 215 00:10:10,090 --> 00:10:12,150 But what I've learned over time is 216 00:10:12,150 --> 00:10:14,400 that people don't do their best work 217 00:10:14,400 --> 00:10:19,450 if they're not respected and appreciated and have a voice. 218 00:10:19,450 --> 00:10:24,420 And so if I've learned one thing that I 219 00:10:24,420 --> 00:10:26,980 would like to go back and do differently, 220 00:10:26,980 --> 00:10:29,130 It's not necessarily the choice of lenses 221 00:10:29,130 --> 00:10:31,500 or the choice of dialogue or anything 222 00:10:31,500 --> 00:10:33,300 within the films themselves. 223 00:10:33,300 --> 00:10:37,320 It's the nature of the working relationship. 224 00:10:37,320 --> 00:10:39,930 I could have listened more. 225 00:10:39,930 --> 00:10:42,810 I could have been less autocratic. 226 00:10:42,810 --> 00:10:44,700 I could have not made the movie more 227 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 229 00:10:54,000 --> 00:10:57,810 as filmmakers, we tend to think that the movie's the world, 230 00:10:57,810 --> 00:10:59,370 and it isn't. 231 00:10:59,370 --> 00:11:02,340 And years later, you realize, well, I'm still here, 232 00:11:02,340 --> 00:11:05,730 and all those people are still around, and the movie is-- 233 00:11:05,730 --> 00:11:07,380 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 237 00:11:14,640 --> 00:11:17,310 from the time he was a kid, he's great at it. 238 00:11:17,310 --> 00:11:19,830 When I first saw him work, I was dumbfounded. 239 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? 241 00:11:27,900 --> 00:11:33,570 And I aspire to, even to today, to try 242 00:11:33,570 --> 00:11:35,580 to be my inner Ron Howard. 243 00:11:35,580 --> 00:11:36,400 Thanks guys. 244 00:11:36,400 --> 00:11:36,970 Well done. 245 00:11:36,970 --> 00:11:38,598 Fun, fun, fun. 246 00:11:38,598 --> 00:11:40,140 And I've told him this, by the way. 247 00:11:40,140 --> 00:11:42,288 This is no secret-- 248 00:11:42,288 --> 00:11:43,830 because I think that's how it's done. 249 00:11:43,830 --> 00:11:46,050 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. 251 00:11:49,032 --> 00:11:50,016 [MUSIC PLAYING] 252 00:11:54,940 --> 00:11:58,770 The other aspect of leadership is you have to inspire. 253 00:11:58,770 --> 00:12:01,780 And you inspire by communicating. 254 00:12:01,780 --> 00:12:03,330 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 00:12:06,900 --> 00:12:10,380 with a kind of a blank face, why are other people 258 00:12:10,380 --> 00:12:11,590 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 00:12:17,183 --> 00:12:18,600 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 00:12:32,310 --> 00:12:34,800 of you and be excited by it. 268 00:12:34,800 --> 00:12:36,330 You know-- and run in. 269 00:12:36,330 --> 00:12:38,670 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 00:12:41,130 --> 00:12:43,800 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 00:13:02,500 --> 00:13:05,560 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 00:13:11,200 --> 00:13:12,900 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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