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These are the user uploaded subtitles that are being translated: 1 00:00:13,266 --> 00:00:16,299 there's so much to know that you don't know 2 00:00:16,733 --> 00:00:19,499 um and I always found this to be 3 00:00:20,066 --> 00:00:24,299 something about film making 4 00:00:25,200 --> 00:00:27,166 no matter what the technology is 5 00:00:28,000 --> 00:00:29,900 you shouldn't be cowed by the technology 6 00:00:29,900 --> 00:00:31,500 you shouldn't be cowed by the 7 00:00:32,766 --> 00:00:36,166 the process in a sense 8 00:00:36,200 --> 00:00:37,366 you should have 9 00:00:38,133 --> 00:00:42,866 the kind of passion and bravery and ignorance 10 00:00:42,866 --> 00:00:44,199 I think to a certain extent 11 00:00:44,200 --> 00:00:45,700 of wanting to get something done 12 00:00:47,566 --> 00:00:48,099 you know it 13 00:00:48,100 --> 00:00:50,733 because if you really thought about making a picture 14 00:00:50,733 --> 00:00:52,766 if you really thought about it step by step you never 15 00:00:52,766 --> 00:00:53,699 you never do it 16 00:00:53,966 --> 00:00:55,933 it's always a situation where you wind up like 17 00:00:55,933 --> 00:00:57,299 three days into shooting or so 18 00:00:57,300 --> 00:00:58,266 two days and you say 19 00:00:58,266 --> 00:00:58,933 what have I done 20 00:00:58,933 --> 00:00:59,999 what was I thinking 21 00:01:00,000 --> 00:01:01,700 but you have to do it 22 00:01:01,800 --> 00:01:02,933 when it came to light 23 00:01:02,933 --> 00:01:04,533 I never really understood light 24 00:01:04,533 --> 00:01:06,299 I still really don't um 25 00:01:06,300 --> 00:01:07,266 I don't really need to 26 00:01:07,266 --> 00:01:08,099 I don't think 27 00:01:08,100 --> 00:01:12,666 I never really became something that was 28 00:01:13,100 --> 00:01:15,800 uh prominent um uh 29 00:01:16,300 --> 00:01:18,400 in designing scenes I uh 30 00:01:18,400 --> 00:01:19,766 I think a lot of that had to do 31 00:01:19,766 --> 00:01:20,766 took me years to 32 00:01:20,766 --> 00:01:21,733 to understand 33 00:01:21,733 --> 00:01:23,299 a lot of that had to do where I grew up 34 00:01:23,300 --> 00:01:24,866 I grew up in the 35 00:01:24,866 --> 00:01:26,166 actually the tenements 36 00:01:26,533 --> 00:01:28,466 and on Elizabeth Street in the 19 37 00:01:28,466 --> 00:01:30,966 late 40s or to the 50s and to the 60s 38 00:01:31,133 --> 00:01:32,899 and basically all I needed to know 39 00:01:32,900 --> 00:01:35,166 there was daylight at night 40 00:01:36,100 --> 00:01:37,700 yeah I didn't really 41 00:01:38,000 --> 00:01:38,700 it was dark 42 00:01:38,700 --> 00:01:39,500 it was dark 43 00:01:40,000 --> 00:01:44,000 there was maybe a light bulb in the hallway yeah um 44 00:01:44,533 --> 00:01:46,466 it wasn't complaining about 45 00:01:46,600 --> 00:01:49,400 any deprivation of nature's beauty 46 00:01:49,400 --> 00:01:50,966 it was where you were 47 00:01:51,500 --> 00:01:52,800 and it had its own beauty 48 00:01:52,800 --> 00:01:54,600 you know yes 49 00:01:54,600 --> 00:01:58,000 there's a nuance that I did learn on a daylight 50 00:01:58,000 --> 00:01:59,200 and a daylight situation 51 00:01:59,200 --> 00:02:00,000 that could be clouds 52 00:02:00,000 --> 00:02:00,966 and that could be sun 53 00:02:01,600 --> 00:02:03,900 I got that but aside from that 54 00:02:03,900 --> 00:02:04,866 where the sun is 55 00:02:04,866 --> 00:02:06,799 and where things to be shot at a certain time of day 56 00:02:06,800 --> 00:02:07,533 I really don't 57 00:02:07,533 --> 00:02:08,499 I still don't know 58 00:02:08,933 --> 00:02:10,099 I still don't know 59 00:02:11,700 --> 00:02:12,300 maybe that's why 60 00:02:12,300 --> 00:02:13,966 I like a lot of British cinematographers too 61 00:02:13,966 --> 00:02:15,866 because the overcast in the 62 00:02:15,866 --> 00:02:16,833 in that country 63 00:02:17,566 --> 00:02:18,699 but many of that 64 00:02:18,766 --> 00:02:22,566 I Learned to work very closely with 65 00:02:22,566 --> 00:02:24,466 directors of photography over the years 66 00:02:25,900 --> 00:02:28,800 and in designing the shots 67 00:02:29,866 --> 00:02:31,499 they would add the element of light 68 00:02:31,700 --> 00:02:32,533 I would change 69 00:02:32,533 --> 00:02:33,466 I would work it 70 00:02:33,533 --> 00:02:35,699 I began to understand something about it 71 00:02:36,766 --> 00:02:41,333 and so this is something that I think can be 72 00:02:41,333 --> 00:02:42,333 if not Learned 73 00:02:42,333 --> 00:02:44,599 um can be uh 74 00:02:45,300 --> 00:02:48,366 coexist with the uh 75 00:02:48,600 --> 00:02:50,366 necessity of making the film 76 00:02:50,900 --> 00:02:52,000 you deal with it 77 00:02:52,000 --> 00:02:54,200 you if you don't know something ask 78 00:02:54,400 --> 00:02:55,500 try it you know 79 00:02:55,500 --> 00:02:57,600 learn as much as you may forget afterwards 80 00:02:57,600 --> 00:02:59,566 but you learn a little bit each time 81 00:02:59,566 --> 00:03:00,466 a little more 82 00:03:00,733 --> 00:03:02,966 but it's something that shouldn't stop you 83 00:03:02,966 --> 00:03:05,766 if there are certain elements of actual production 84 00:03:05,766 --> 00:03:08,666 or how to get an image on screen or how to tell a story 85 00:03:09,100 --> 00:03:11,233 um you'll find your way through 86 00:03:17,933 --> 00:03:18,799 Freddy's work 87 00:03:18,800 --> 00:03:20,133 I had seen as a cinematographer 88 00:03:20,133 --> 00:03:23,299 but also he was camera operator on tales of Hoffman 89 00:03:23,300 --> 00:03:25,100 and a couple of other films of Paul Pressburger 90 00:03:25,100 --> 00:03:27,766 so he came out of that group and got to know him a bit 91 00:03:28,066 --> 00:03:29,166 um I was there 92 00:03:29,166 --> 00:03:31,199 the night he won the Academy Award for glory 93 00:03:31,366 --> 00:03:33,399 and said he was looking for a job 94 00:03:33,800 --> 00:03:35,833 and so I thought of possibly 95 00:03:35,866 --> 00:03:38,366 working with them on this film Cape Fear 96 00:03:38,366 --> 00:03:39,399 which was a 97 00:03:40,766 --> 00:03:42,299 film I hadn't planned to make 98 00:03:43,133 --> 00:03:47,433 and was an attempt at trying to make a 99 00:03:48,200 --> 00:03:50,200 extend or enrich a genre 100 00:03:50,200 --> 00:03:51,133 so to speak or 101 00:03:51,133 --> 00:03:53,799 or revise a genre possibly 102 00:03:53,800 --> 00:03:54,866 I don't know 103 00:03:54,866 --> 00:03:55,999 but in any event 104 00:03:57,333 --> 00:03:58,399 Freddy agreed to do it 105 00:03:58,400 --> 00:03:59,800 and Freddy had 106 00:04:00,166 --> 00:04:04,966 he had a set of five lenses that he used um 107 00:04:04,966 --> 00:04:05,999 on the innocence 108 00:04:06,000 --> 00:04:06,766 for example 109 00:04:06,766 --> 00:04:08,066 like I think 110 00:04:08,066 --> 00:04:09,333 I think I'm sons and lovers 111 00:04:09,333 --> 00:04:10,133 I'm not quite sure 112 00:04:10,133 --> 00:04:11,733 but must have been 113 00:04:11,733 --> 00:04:12,533 but in any event 114 00:04:12,533 --> 00:04:13,799 certainly the innocents 115 00:04:14,166 --> 00:04:17,366 um which is a beautiful film um 116 00:04:17,366 --> 00:04:18,966 that Jack Clayton directed 117 00:04:19,133 --> 00:04:20,333 based on turn of the 118 00:04:20,333 --> 00:04:21,699 The Turn of the Screw 119 00:04:22,133 --> 00:04:22,899 Henry James 120 00:04:22,900 --> 00:04:23,866 Deborah Carr 121 00:04:25,766 --> 00:04:27,999 extraordinary focus in the film 122 00:04:28,133 --> 00:04:29,866 in black and white scope 123 00:04:29,866 --> 00:04:31,833 black and white anamorphic 124 00:04:32,200 --> 00:04:35,833 but extraordinary deep focal length in this picture 125 00:04:36,266 --> 00:04:37,699 and there's Deborah Carr 126 00:04:37,700 --> 00:04:41,200 walking to the halls of this Victorian house 127 00:04:42,066 --> 00:04:44,766 um dark she's wearing a black 128 00:04:44,766 --> 00:04:45,599 a black dress 129 00:04:45,600 --> 00:04:47,033 which is very full 130 00:04:47,100 --> 00:04:48,333 but everything's in crisp 131 00:04:48,333 --> 00:04:49,599 crisp focus 132 00:04:49,733 --> 00:04:51,166 and I asked him 133 00:04:51,500 --> 00:04:52,333 how did he achieve that 134 00:04:52,333 --> 00:04:53,899 and he said he shot at F11 135 00:04:54,600 --> 00:04:57,466 which meant that it was the smallest opening 136 00:04:58,333 --> 00:05:01,499 and that means he had to pump in more light 137 00:05:02,066 --> 00:05:04,199 and I didn't fully understand this until later 138 00:05:04,200 --> 00:05:04,900 on Cape Fear 139 00:05:04,900 --> 00:05:07,400 when I would ask for certain scenes 140 00:05:07,400 --> 00:05:10,766 to be even more focused in terms of the characters 141 00:05:10,766 --> 00:05:12,766 this character in focus with that one and this one 142 00:05:12,766 --> 00:05:14,533 he said I he would always tell me why 143 00:05:14,533 --> 00:05:16,199 I think I can give you what you want 144 00:05:16,200 --> 00:05:17,766 if you give me a few moments 145 00:05:17,766 --> 00:05:18,799 which we did 146 00:05:27,866 --> 00:05:31,266 that's when I fully understood um 147 00:05:31,300 --> 00:05:32,600 the impact of 148 00:05:33,800 --> 00:05:35,533 the intensity of light 149 00:05:35,533 --> 00:05:39,399 to focus of the screen and focus of the image 150 00:05:40,000 --> 00:05:44,133 imagine Greg Tolen or best years of our lives 151 00:05:44,133 --> 00:05:45,266 a citizen gained 152 00:05:45,500 --> 00:05:46,000 all that deep 153 00:05:46,000 --> 00:05:49,933 vocal length work must have incorporated extraordinary 154 00:05:49,933 --> 00:05:51,099 uh lighting 155 00:05:51,333 --> 00:05:53,366 um the heat of the lighting 156 00:05:53,366 --> 00:05:54,933 the intensity and uh 157 00:05:54,933 --> 00:05:55,599 I mean naturally 158 00:05:55,600 --> 00:05:56,833 you're talking to 159 00:05:56,933 --> 00:05:58,199 you know somebody here who uh 160 00:05:58,200 --> 00:06:01,666 I'm I'm speaking from a different experience I I 161 00:06:01,866 --> 00:06:04,599 the impulse for me to make movies was 162 00:06:05,266 --> 00:06:06,899 the New York independent cinema 163 00:06:06,933 --> 00:06:07,533 Cassa Eddie 164 00:06:07,533 --> 00:06:08,599 Shirley Clarke 165 00:06:08,666 --> 00:06:10,466 very often um 166 00:06:10,700 --> 00:06:12,200 a number of people who did those 167 00:06:12,200 --> 00:06:13,900 from something Bear Bryant shot 168 00:06:14,166 --> 00:06:16,733 Cool World very often we using available light 169 00:06:16,733 --> 00:06:18,566 this is inspired from the French New Wave 170 00:06:18,566 --> 00:06:19,599 that sort of thing 171 00:06:20,200 --> 00:06:20,966 available light is always 172 00:06:20,966 --> 00:06:22,499 isn't always available light by the way 173 00:06:22,500 --> 00:06:24,733 there's always some fill or something like that 174 00:06:24,733 --> 00:06:25,599 but many of that 175 00:06:25,600 --> 00:06:26,966 it was lighter equipment 176 00:06:26,966 --> 00:06:31,133 I didn't understand the necessity of arc lights 177 00:06:31,133 --> 00:06:33,666 and the power of the heat 178 00:06:33,933 --> 00:06:36,299 for focus and so on 179 00:06:36,300 --> 00:06:36,933 Cape Fear that 180 00:06:36,933 --> 00:06:38,566 that was a revelation 181 00:06:44,666 --> 00:06:46,299 he had a sense of 182 00:06:48,866 --> 00:06:50,833 transforming the image 183 00:06:51,066 --> 00:06:56,366 there was a moment in another words a shot of an eye 184 00:06:56,533 --> 00:06:59,099 I would say a shot of two eyes person looking 185 00:07:01,366 --> 00:07:04,299 there's a shot of two eyes unless you interpret it 186 00:07:04,533 --> 00:07:07,466 yeah one point I remember very clearly 187 00:07:08,333 --> 00:07:11,399 I designed this action sequence at the end of the film 188 00:07:12,700 --> 00:07:15,600 in a storm at Cape Fear 189 00:07:15,600 --> 00:07:16,700 the actual Cape Fear 190 00:07:16,700 --> 00:07:17,933 boats are flying around 191 00:07:17,933 --> 00:07:19,466 house boats and that sort of thing 192 00:07:20,300 --> 00:07:21,333 prior to the 193 00:07:21,333 --> 00:07:23,033 the boat breaking 194 00:07:23,133 --> 00:07:25,733 there's Nick Nolty staring through the window 195 00:07:25,733 --> 00:07:27,366 through Venetian blinds 196 00:07:28,066 --> 00:07:31,266 a storm tossed houseboat of his wife 197 00:07:31,266 --> 00:07:32,566 played by Jessica Lyon 198 00:07:32,566 --> 00:07:35,399 being terrorized by Robert De Niros 199 00:07:35,400 --> 00:07:37,466 Max Katie um 200 00:07:37,466 --> 00:07:38,399 and I said he's 201 00:07:38,400 --> 00:07:40,166 he's out there 202 00:07:40,166 --> 00:07:41,833 he's looking through the window 203 00:07:41,900 --> 00:07:44,566 there's Venetian blinds were on the eyes 204 00:07:44,600 --> 00:07:45,666 and there's um 205 00:07:46,100 --> 00:07:47,666 rain hitting the window 206 00:07:47,666 --> 00:07:49,499 so it's streaking and that sort of thing 207 00:07:49,500 --> 00:07:50,666 and we lined up the shot in 208 00:07:50,666 --> 00:07:53,066 in anamorphic and two eyes 209 00:07:53,900 --> 00:07:54,733 and I told Freddy 210 00:07:54,733 --> 00:07:56,666 it doesn't feel right it doesn't 211 00:07:56,666 --> 00:07:59,999 it's just a shot of two eyes looking through window 212 00:08:00,700 --> 00:08:01,766 and so he said 213 00:08:02,166 --> 00:08:04,199 one eye I said 214 00:08:04,200 --> 00:08:05,100 what do you mean he said 215 00:08:05,133 --> 00:08:06,366 just show one eye 216 00:08:11,166 --> 00:08:12,199 when he did that 217 00:08:12,200 --> 00:08:14,266 it took on some other aspect 218 00:08:14,266 --> 00:08:15,233 and that is that 219 00:08:15,366 --> 00:08:17,733 it was like something from the ocean depths 220 00:08:17,733 --> 00:08:20,399 when you didn't quite know what it was at first 221 00:08:20,500 --> 00:08:22,300 and you realize it's an eye covered 222 00:08:22,300 --> 00:08:25,933 with the raindrops covered with the shadow light 223 00:08:25,933 --> 00:08:27,033 all kinds of things 224 00:08:27,100 --> 00:08:28,066 so that it it 225 00:08:28,066 --> 00:08:30,633 it created a mystery um 226 00:08:31,133 --> 00:08:34,399 understanding of how to tell a story with pictures 227 00:08:34,400 --> 00:08:36,066 that was extraordinary for that 228 00:08:36,066 --> 00:08:38,066 for that mood and tone 229 00:08:38,900 --> 00:08:39,700 and from the one I 230 00:08:39,700 --> 00:08:41,100 we tracked out I believe 231 00:08:41,300 --> 00:08:43,066 but this is the kind of thing 232 00:08:43,766 --> 00:08:45,233 it was really 233 00:08:45,666 --> 00:08:47,466 kind of a learning experience for me and I 234 00:08:47,466 --> 00:08:49,299 I also kind of bothered him a lot 235 00:08:49,300 --> 00:08:49,900 because I would ask him 236 00:08:49,900 --> 00:08:51,833 about how he shot certain things in his films 237 00:08:52,066 --> 00:08:53,133 and then say 238 00:08:53,133 --> 00:08:53,999 well we have to get going 239 00:08:54,000 --> 00:08:55,200 cause will you give me a few minutes 240 00:08:55,200 --> 00:08:56,300 and stop asking me questions 241 00:08:56,300 --> 00:08:58,466 I could work so um 242 00:08:58,466 --> 00:09:00,199 but he was extremely um um 243 00:09:01,000 --> 00:09:02,866 gentlemanly about it um 244 00:09:03,466 --> 00:09:06,566 and the it reminds me of the story 245 00:09:06,566 --> 00:09:07,466 and I've just been 246 00:09:07,766 --> 00:09:09,966 telling some people about this for a while now 247 00:09:09,966 --> 00:09:12,799 but he was the camera operator on this 248 00:09:13,133 --> 00:09:17,066 valiant effort to do a version of Moby Dick 249 00:09:17,066 --> 00:09:19,499 that John Euston did 1956 250 00:09:19,700 --> 00:09:21,066 but on that film 251 00:09:21,866 --> 00:09:24,399 Freddy was camera operator 252 00:09:24,400 --> 00:09:27,100 and he was told at one point by Euston to 253 00:09:27,700 --> 00:09:30,466 go and get a few shots of whales 254 00:09:31,533 --> 00:09:32,666 in the North Sea 255 00:09:33,466 --> 00:09:34,266 and obviously 256 00:09:34,266 --> 00:09:35,799 sending to the spot where the whales are in 257 00:09:35,800 --> 00:09:36,733 the fins come up 258 00:09:36,733 --> 00:09:37,899 and that sort of thing 259 00:09:38,066 --> 00:09:38,599 and you know 260 00:09:38,600 --> 00:09:39,333 three script 261 00:09:39,333 --> 00:09:40,233 Technicolor 262 00:09:40,666 --> 00:09:42,933 big camera and he brought it back 263 00:09:42,933 --> 00:09:43,599 he went there 264 00:09:43,600 --> 00:09:45,133 shot it brought it back to London 265 00:09:45,133 --> 00:09:46,099 they screened it 266 00:09:46,466 --> 00:09:47,899 and he looked at Houston 267 00:09:47,900 --> 00:09:49,233 Houston said well 268 00:09:50,300 --> 00:09:51,633 it's a shot of a whale 269 00:09:54,733 --> 00:09:57,066 right it had very little interpretation 270 00:09:58,466 --> 00:10:01,166 and so um this is the lesson I Learned 271 00:10:01,166 --> 00:10:01,966 it is still 272 00:10:01,966 --> 00:10:03,299 it's simply saying okay 273 00:10:03,300 --> 00:10:04,666 we're gonna get a shot at the door 274 00:10:04,666 --> 00:10:06,166 we're gonna get a shot at the car 275 00:10:06,166 --> 00:10:07,266 well what's the angle 276 00:10:07,266 --> 00:10:08,233 what's the light 277 00:10:09,333 --> 00:10:09,999 is it moving 278 00:10:10,000 --> 00:10:11,300 is not moving 279 00:10:13,066 --> 00:10:14,366 I've seen that sometimes 280 00:10:14,366 --> 00:10:18,166 where I start to work on an image 281 00:10:19,933 --> 00:10:20,933 of a telephone 282 00:10:20,933 --> 00:10:21,899 for example 283 00:10:22,333 --> 00:10:23,899 infinite amount of ways to do that 284 00:10:23,900 --> 00:10:25,433 I'm talking about a landline 285 00:10:26,100 --> 00:10:27,200 infinite amount of ways 286 00:10:27,200 --> 00:10:29,800 and it needs a lot of thought yeah 287 00:10:30,533 --> 00:10:32,299 which leads to the use of inserts 288 00:10:32,300 --> 00:10:33,866 which leads to press on 289 00:10:33,866 --> 00:10:36,866 and Hitchcock and a number of others but 290 00:10:38,466 --> 00:10:38,966 with Freddy 291 00:10:38,966 --> 00:10:39,999 it was a very 292 00:10:40,000 --> 00:10:43,166 very interesting experience because it took me to the 293 00:10:43,966 --> 00:10:47,099 um the old prose in a way 294 00:10:47,366 --> 00:10:49,766 as opposed to other directors of photography 295 00:10:49,766 --> 00:10:51,666 I've been working with up to that time 296 00:10:51,866 --> 00:10:55,499 um not to to not saying 297 00:10:55,933 --> 00:10:59,133 not to to say that one was superior to the other 298 00:10:59,133 --> 00:11:00,133 it's a different thing 19925

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