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By DP30 david@thehotbuttonl.com

DP/30: Django Unchained, re-recording mixers Mike Minkler & Tony Lamberti and production sound mixer Mark Ulano

If you want perspective on how Tarantino works, these guys offer a lot, above and beyond their own work on this and other QT films.

3 Responses to “DP/30: Django Unchained, re-recording mixers Mike Minkler & Tony Lamberti and production sound mixer Mark Ulano”

  1. Not David Bordwell says:

    To hell with the digital age, can you image these guys working for George Stevens?

    Also interesting to hear Samuel L. Jackson saying the same exact thing about directors who film for coverage because they can’t make a choice to serve their own vision. Reminds me of ALL THAT JAZZ, where Joe Gideon can’t stop editing his Lenny Bruce routines and keeps kicking himself that he didn’t have tighter rein on his actor.

    OTOH, isn’t that how Hal Ashby worked?

  2. PastePotPete says:

    Different directors have different philosophies. Look at Kubrick. He shot tons of footage to have editing choices. He thought the real art was in the editing.

    Poland, btw, I’m not sure how popular this segment has been but I enjoyed it a great deal. Thank you for posting it, I’d enjoy seeing more below the line people on these DP30s.

  3. John McCain says:

    ‘Different directors have different philosophies. Look at Kubrick. He shot tons of footage to have editing choices. He thought the real art was in the editing.’

    That’s editing. Not directing.

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 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook