Too accurate to be ignored.
yes this is my kind of art
This is the sort of art that requires you to look at it a second or third time - or several times - just to appreciate the realities it conveys.
Can anyone tell me who the artist iz? Thanks ily.
Wes Anderson and Owen Wilson photographed by Laura Wilson
Freddy Vs Jason
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Steven Spielberg net worth: $3.1 billion
James Cameron: $700 million
Tyler Perry net worth: $400 million
Michael Bay net worth: $400 million
Peter Jackson net worth: $400 millionThe Wachowski Brothers net worth: $250 million
Rob Reiner net worth: $165 million
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Christopher Nolan net worth: $150 million
Ron Howard net worth: $140 million
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Gore Verbinski net worth: $110 million
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Joss Whedon net worth: $100 million
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Tony Scott net worth: $90 million
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Irwin Winkler met worth: $80 million
Tim Burton Net Worth: $80 million
Jonathan Charles “Jon” Turteltaub net worth: $80 million
Coen Brothers net worth: $80 million
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Michael Mann net worth: $75 million
Farrelly Brothers’ net worth: $72 million
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Bryan Singer net worth: $70 million
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Brett Ratner net worth: $65 million
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David Fincher net worth: $65 million
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John Daniel Singleton: $50 million
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M. Night Shyamalan net worth: $50 million
Alfred Hitchcock was born in the 19th century but gave birth in the 20th century to the age of modern filmmaking. Famous for his wit, inventive appreciation of the macabre, and a firm belief that suspense involves bringing a victim out from the shadows into the light he crafted the kinds of movies that made you care about characters even while reaching for your cholesterol medication.
He also has a lot to teach. To fellow filmmakers and fans alike. Which is why we’ve chosen him as the first teacher in a new series of weekly articles where master movie-makers share their insights.
Throughout his life, Hitchcock was candid about his methods and philosophies (amongst other things he flung around freely). Here’s a bit of free film school from a true visionary.
MAKE YOUR AUDIENCE SUFFER…
Perhaps one of his most famous quotations, Hitchcock also seemed to delight in that suffering. His work echoed a sentiment that putting people on the edge of their seats was the furthest back he wanted them.
The climaxes of Vertigo and others are strong examples, but consider flicks like Rope and Rear Window where he shows us the danger early and spends the entire film – an entire damned runtime – stewing in the possibility of getting caught or seeing a loved one murdered by a violent man. These are testaments to a intractable dedication to producing gooseflesh.
There’s no more invested audience than one that shares each emotional or physical threat with the character – and Hitchcock managed to do it without resorting to cheap tricks or sensationalism.
3)…BUT GIVE THEM PLEASURE
“The same pleasure they have when they wake up from a nightmare.”
At the end of Rear Window, Hitchcock drops a spoonful of sugar in the form of a cascade of character wrap ups – Miss Lonelyhearts has a musician beau, the dancer sees her love return home, the couple who lost their dog has a new one, and Lisa (Grace Kelly) cheekily pretends to read a travel magazine next to her man played by Jimmy Stewart (who now humorously has one more broken leg than he began with).
That sugar comes after the heart attack of the rest of the movie. No matter how terrible he treats us, Hitchcock somehow manages a sweet, Hollywood ending. There is light at the end of the tunnel. Just make sure you don’t get stabbed when you walk out into it.
And know the difference between misty and suspense.
BE THE BEST SALESMAN OF YOUR FILMS
Today, directors go on press junkets, give countless interviews and attempt to be ambassadors for the piece of art they worked hard to make. The marketing aspect has evolved over the years, but Hitchcock was never shy with his own projects, and often became the star of extended trailers. His famous cameo appearances helped with that.
One of the best is “A Guided Tour with Alfred Hitchcock” where the frumpy old genius helped us plan our summer vacation by mocking outdoor activity and shilling for North By Northwest. It’s a solid hook for a movie that takes a trip all over the map.
Of course, he got away with it because he had a watchable presence, a dry humor, and a clean comic delivery. Trailers could use this level of creativity, although it seems clear that this lesson isn’t universal for all directors. David Fincher makes it a point to be involved heavily in the trailer process, but some filmmakers aren’t well-versed enough in what sells and why.
The real point is to be disarming while still advocating for your work. Maybe this exact scenario wouldn’t work for most, but the best modern example is Peter Jackson with his extensive video blogs of his productions. He’s grabbing a spotlight, letting fans in on the process and delivering the goods even before the movie has begun shooting. That’s salesmanship.
DON’T FEAR THE PIGEONHOLE
“I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.”
A tongue in cheek comment to be sure, but Hitchcock was never afraid of his own living legacy. That’s mostly because he loved the movies he made, seeing himself as built for the genre. And, honestly, can you imagine Hitchcock making anything else? Even his comedy The Trouble With Harry is morbid and focused on a dead body. His solution for a sore throat? Cut it.
The guy loved dark humor.
His films managed to be a mixture of noir, comedy, suspense and blood. He was fine with being pigeonholed, but maybe that’s because his particular hole was rather large.
Meanwhile, who else would have loved a Cinderella movie from Hitchcock?
IT DOESN’T MATTER WHAT THE MOVIE IS ABOUT
The emotional response. That’s what matters.
WHAT HAVE WE LEARNED
These tips may seem to focus on a particular style, but they speak wholly to storytelling at its core. It doesn’t matter what genre you’re working with or what kind of tale you want to tell (or enjoy), challenging your characters and your audience is an elegant way to get them involved. Don’t make things safe for yourself, for your characters or for the people seated in the dark ready to be entertained.
For more lessons from Hitchcock and comments on hearing his audience scream while writing, finishing his film before he starts a single take, and explaining how catastrophe can change a person, check out his legendary interview with Peter Bogdanovich (who might end up in this weekly series as well).
Perfectionist. Demanding. Hard to work with. David Fincher is a man who hates his own brand but is secure in his own reputation. Of course, it’s a little bit easy when that reputation includes stunning movies and a mind that can operate at an auteur speed in the high-occupancy Hollywood studio lane.
He’s a (mostly) accessibly genius, which is rare and which means that we as fans and filmmakers can learn a lot from him. Fortunately, he’s as free with his advice as he is with his nightmarish visions.
Here’s a bit of free film school from a living legend.
MAKE THE CALLS YOURSELF
“What you learn from that first – 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?”
Fincher said this to Quint in regards to his experience making Alien 3 and the beginning belief that the people around him would know the best people to work with. That full interview is worth perusing because it feels like the evolution of a strong-willed director realizing he should never pocket his opinions in the service of the studio.
The key here is that after growing in his craft with a solid team he knew, Fincher accepted that the studio would be even better at securing talented DPs, gaffers and technicians. That wasn’t necessarily the case – or, at least, Fincher didn’t gel with them as he could have with a trusted group, and the result was lacking.
GIVE EVERYTHING YOU HAVE AND KNOW IT WON’T BE ENOUGH
“I never fall in love with anything. I really don’t, I am not joking. ‘Do the best you can, try to live it down,’ that’s my motto. Just literally give it everything you got, and then know that it’s never going to turn out the way you want it to, and let it go, and hope that it doesn’t return. Because you want it to be better than it can ever turn out. Absolutely, 1000 percent, I believe this: Whenever a director friend of mine says, ‘Man, the dailies look amazing!’ … I actually believe that anybody, who thinks that their dailies look amazing doesn’t understand the power of cinema; doesn’t understand what cinema is capable of.”
False modesty? Maybe, but it doesn’t seem likely. Of course, Fincher appears to be as broody as his films, but this feels more like Zen wisdom than anything else.
That Zen wisdom can go a long way. Making a “perfect movie” is impossible even before considering the subjective loopholes. As an art form with thousands of people crafting individual pieces that lock into place, one person will never have the power to make exactly what he or she wants, but will always have the power to give their best, hardest, smartest work.
DIRECTING IS BALLET
It turns out Fincher was the main character of Black Swan (and that he rightfully doesn’t see movies as a platform solely for actors to monopolize the stage).
Only six takes? Prima donna.
LOOK AT EVERYTHING THROUGH TWO DIFFERENT EYES
In the commentary track for Se7en, Fincher explains that when he was working at ILM, he was taught that a director should look at each scene’s set up with each eye individually. Left eye for composition (because it’s connected to the creative right side of the brain). Right eye for focus and technical specs (because it’s connected to the mathematical left side of the brain).
There’s no telling whether this is spot-on or absolute bunk. If it is bunk, it’s bunk from David Fincher and ILM, so it’s probably still worth something.
KNOW THE DIFFERENCE BETWEEN FILMS AND MOVIES
“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.”
Another lesson here? Don’t be so pretentious that you think everything you make is “important.” There’s room in this world for popcorn fiction and movies that are exactly the sum of their parts.
HAVE NO FEAR AND EAT THE WHALE
“You can’t take everything on. That’s why when people ask how does this film fit into my oeuvre. I say ‘I don’t know. I don’t think in those terms’. If I did, I might become incapacitated by fear … How do you eat a whale? One bite at a time. How do you shoot a 150-day movie? You shoot it one day at a time.
Fincher has spoken on multiple occasions about his “brand” and his dislike for being branded. His solution is not acknowledging it when it comes to attaching himself to projects or making creative decisions. He hates it when marketing departments put “From director David Fincher” on posters, but who would have thought the guy who made an obese man eat himself to death would want to follow an Ivy League computer nerd?(I DID NOT WRITE THIS)
'…And palm to palm is holy palmers' kiss.'
Just love the way this line sounds.
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