20170925 Master and his admirers

Giovani 2022-10-29 21:59:36

A good movie depends on three parts, a good script, a good director and a good actor. Hitchcock deprived the actors of their autonomy, because the level of freedom of the actors did not meet his expectations. He strictly requires the actor's actions. There is a detail in the film. Hitchcock asks the actor to come out and look at the opposite building. The actors don’t know how to act? Hitchcock's tone sounds very angry~~~ That means, just do it.

Yes, Hitchcock has controlled the script and the director (composition, lighting, story evolution), and the actor is his third control variable.

This documentary did not explain how the script was formed. The script constraints, director constraints and actors constraints of domestic film and television dramas are quite obvious. If any part is flawed, a good story can be turned into a piece of rubbish.

This documentary was actually somewhat lower than expected. It was actually a process in which many admirers worshipped Hitchcock. I prefer equal dialogue. Although this high-low dialogue process is also good, it is still not so equal.

From this perspective, the domestic situation of respect and inferiority does not seem to be so obvious. Like Chen Danqing talking about Hu Shi, calling Hu Shi and Lu Xun a confrontation between two peaks, you can feel that kind of calm and equal dialogue relationship.

The directors in this film seem to be unable to control so many resources and powers like Hitchcock. Truffaut is at an obvious disadvantage in dealing with actors. Every night when he shoots a movie, he will turn the script into a language that the actors are more familiar with. This is a transfer of power. It also shows that Hitchcock Grams are irreproducible. His success further strengthened his resources and power, and further shaped his success. This is a recursive ability. Hitchcock reached the pinnacle of directorial power. No one can match behind.

Up to the present position, the producer has become the core of resource integration. The good days of directors have long since passed and are no longer glorious.

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Extended Reading

Hitchcock/Truffaut quotes

  • Alfred Hitchcock: [Discussing "Psycho"] It was necessary to make the robbery and what happened to the girl, purposely on the long side, to get an audience absorbed with her plight. Where I slowed up was when I came to the scenes that indicated time and trouble.

  • Martin Scorsese: [Discussing "Psycho"] The best scenes for me are, one's he must have spent time on, the driving shots. You had to spend time on those, particularly the points of view, somehow. And the framing of Janet Leigh in the center of the frame with the top of the steering wheel in the bottom of the frame. Because, you can make a choice. You can go above the steering wheel, you know, or you can go further out. But, then, maybe you won't see her eyes as well. That's like the perfect size. The scene with the policeman, of course, the framing of him staring into the car, yes, we know, with the glasses, he's scary. But, there is something about the restraint of those frames. You see, the more you restrain, the better it is when the explosion happens. And on the way to the explosion there are these meditative states. Driving. And there's a sense of movement ahead, movement ahead.