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By DP30 david@thehotbuttonl.com

CC Clip: Robert Redford, A Walk in The Woods

4 Responses to “CC Clip: Robert Redford, A Walk in The Woods”

  1. Νnatasa says:

    You love what you do and for this reason I’m sure that will be good work…let it to go…I wish you full success……
    Love you natasa..

  2. Yvette Lyons says:

    I would love to have heard Robert speak in more depth about how he uses art to communicate his thoughts and ideas into his films.

    Yvette Lyons, Ph.D.
    Art Therapist

  3. Judie Anderson says:

    Interesting that you should’ve thought of storyboards. As a professional illustrator (your age), I did story boards and every other means of illustration to explain the stories, editorial and educational, that were presented to me.
    Drawing is drawing… if it is within you, it never goes away. You just carried the second dimension into a 3rd and 4th. But do you always successfully carry out what is in your head? I’ve been at this for 60 years, and that blank canvas still scares the hell out of me, tho no one else knows it.

  4. Lonna Saunders says:

    Fascinating! Redford discussing how his art background helped him learn how to direct, in particular how to communicate with the cinematographer to get the shots he wanted.

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DP/30

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”