Q : A critic who admires your work very much said that, in The Trial, you were repeating yourself…
Welles : Exactly, I repeated myself. I believe we do it all the time. We always take up certain elements again. How can it be avoided? An actor’s voice always has the same timbre and, consequently, he repeats himself. It is the same for a singer, a painter…There are always certain things that come back, for they are part of one’s personality, of one’s style. If these things didn’t come into play, a personality would be so complex that it would become impossible to identify it.
Source : http://oldhollywood.tumblr.com/post/21827172757/orson-welles-directs-anthony-perkins-on-the-set-of
“What you learn from that first [film] - and I don’t call it ‘trial by fire’; I call it ‘baptism by fire’ - is that you are going to have to take all of the responsibility, because basically when it gets right down to it, you are going to get all of the blame, so you might as well have made all of the decisions that led to people either liking it or disliking it. There’s nothing worse than hearing somebody say, ‘Oh, you made that movie? I thought that movie sucked,’ and you have to agree with them, you know?”
“A movie is made for an audience and a film is made for both the audience and the filmmakers. I think that The Game is a movie and I think Fight Club’s a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn’t look at Panic Room and think: Wow, this is gonna set the world on fire. These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They’re not particularly important.”
Source : http://www.filmschoolrejects.com/features/6-filmmaking-tips-from-david-fincher.php
…entre :
- l’improvisation physique et l’improvisation verbale ;
- les improvisateurs qui s’habillent bien (en particulier ceux qui utilisent des costumes) et ceux qui s’habillent mal ;
- l’improvisation narrative et l’improvisation de divertissement ;
- les improvisateurs qui prennent soin de leur public et ceux qui l’utilisent pour s’en moquer ;
- l’improvisation qui prend des risques (et qui échoue) et l’improvisation “efficace”.
La plupart des improvisateurs n’en sont pas conscients, mais leur groupe et l’improvisation qu’ils pratiquent s’inscriront toujours dans l’un ou l’autre des deux camps. Ce n’est pas une guerre entre amateurs et professionnels, il y a des représentants des deux camps chez les premiers comme chez les seconds. Et cette guerre existe au niveau mondial : j’ai vu des représentants des deux camps partout où je suis allé faire de l’improvisation théâtrale… Certains diront que cette guerre est complètement futile, que l’improvisation est universelle et que tous les courants peuvent s’apporter mutuellement (ce qui n’est pas complètement faux, mais si difficile à mettre en œuvre…). Certains diront que nous ne devrions pas nous opposer, l’improvisation étant déjà si marginale sur la scène artistique et médiatique.
Mais cette guerre existe bel et bien, et il y a un camp qui domine complètement l’autre. La prise de conscience de cette réalité n’est que la première étape.
I belong to an ancient, idle, wild and useless tribe, perhaps I am even one of the last members of it, who, for many thousands of years, in all countries and parts of the world, has, now and again, stayed for a time among the hard-working honest people in real life, and sometimes has thus been fortunate enough to create another sort of reality for them, which in some way or another, has satisfied them. I am a storyteller.
http://www.karenblixen.com/question87.html
Later, when I knew in my heart I should have to sell the farm and go back to Denmark, I did begin to write. To put my mind to other things I began to write tales. Two of the Gothic Tales were written there. But earlier, I learned how to tell tales. For, you see, I had the perfect audience. White people can no longer listen to a tale recited. They fidget or become drowsy. But the natives have an ear still. I told stories constantly to them, all kinds. And all kinds of nonsense. I’d say, “Once there was a man who had an elephant with two heads . . . ” and at once they were eager to hear more. “Oh? Yes, but Memsahib, how did he find it, and how did he manage to feed it?” or whatever. They loved such invention. I delighted my people there by speaking in rhyme for them; they have no rhyme, you know, had never discovered it. I’d say things like “Wakamba na kula mamba” (“The Wakamba tribe eats snakes”), which in prose would have infuriated them, but which amused them mightily in rhyme. Afterwards they’d say, “Please, Memsahib, talk like rain,” so then I knew they had liked it, for rain was very precious to us there.
http://www.theparisreview.org/interviews/4911/the-art-of-fiction-no-14-isak-dinesen
Stories have been told as long as speech has existed, and sans stories the human race would have perished, as it would have perished sans water. […] I see today a new art of narration, a novel literature and category of belles-lettres, dawning upon the world. […] And this new art and literature - for the sake of the individual charaters in the story, and in order to keep close to them an not be afraid - will be ready to sacrifice the story itself. […] It is a nobel art, a great, earnest and ambitious human product. But it is a human product. The divine art is the story. In the beginning was the story; the human characters came on the sixth day only.
Isak Dinesen, The Cardinal’s First Tale. “Isak Dinesen” est le nom de plume de la Baronne Karen Blixen, grande conteuse et auteur notamment d’Out Of Africa.
