The Director’s Chair Issue #154 – June 10, 2014 (What Is It That Makes Great Film-Makers So Great?)

by Peter D Marshall

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THE DIRECTOR’S CHAIR
Free Monthly Ezine for Independent Filmmakers

June 10, 2014                Scene 15 – Take 6
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Published once a month.

Publisher: Peter D. Marshall
Email: mailto:pdm@actioncutprint.com
Website: http://actioncutprint.com
Blog: http://filmdirectingtips.com

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Ezine Contents
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1. Introduction
2. Bonuses for Subscribing to The Director’s Chair
3. FEATURE ARTICLE: What Makes Great Film-Makers So Great?
4. Film Directing Coach Services
5. Subscriber Shameless Self-Promotion
6. Filmmaking Links of Interest
7. Product Promotion and Film Workshops
8. Subscribe and Unsubscribe Information
9. Copyright Information

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1. Introduction
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Welcome to Issue #154 of The Director’s Chair, June 10, 2014

1. The Feature Article this month is called: What Is It That
Makes Great Film-Makers So Great? by Matthew E Carter. “I think
the better question is “What does a film buff have, that an
average enthusiast doesn’t?” Having an awareness of a crafts
history would have obvious benefits; surely the best way of
understanding techniques is to understand why they were used in
the first place?” (Read the rest of this article below.)

2. Please send any comments, suggestions, questions or advice to:
mailto:pdm@actioncutprint.com

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2. Two Bonuses For Subscribing To The Director’s Chair
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Thank you very much for subscribing to this ezine.

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3. Feature Article: What Makes Great Film-Makers So Great?
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What Is It That Makes Great Film-Makers So Great?
by Matthew E Carter.

Do you have to be a film buff to be a great film-maker?

I think the better question is “What does a film buff have, that
an average enthusiast doesn’t?”

Having an awareness of a crafts history would have obvious
benefits; surely the best way of understanding techniques is to
understand why they were used in the first place?

When biologists research into the evolutionary history of the
natural world, they try to understand an organism by exploring
how it reached its status in the first place. Cinema is similar
to natural selection in regards to its gradual trial and error
development, methods that worked, continued and the ones that did
not fell into extinction. Despite this over simplification, what
must be taken from this is the idea that to gain a better
understanding you must have some knowledge of experiments of the
past.

I feel the reason most dialogue sequences in films use the over
the shoulder shot, is a result of film-makers conforming to a
convention. It is not about the effect it creates, but a way of
adhering to a consensus. Can film be fully utilised and develop
if film-makers are not aware of the effects of their own
techniques?

Film-makers like Ozu, Godard, Lubitch, Parajanov, Tarkovsky,
Bergman, and Jancsó, all use(d) diverse ranges of dialogue
techniques that have numerous effects. With all this variation,
it seems artistically counter-productive to comprehend why so
many filmmakers solely use the over shoulder shot.

However, It would be naive to dismiss natural talent and
creativity has nothing to do with becoming a great filmmaker, but
why do a majority of auteurs have an incredible knowledge of the
cinema?

To further this enquiry, we must not overlook one key question
“Are there any great auteurs that do not have film buff
knowledge?”

The answer is yes and one of the most famous is modern master
Terence Malick. It is a notorious fact that one of Malick’s
favourite films is “Zoolander (Stiller, 2001)”, for a filmmaker
that has made a career out of exploring the philosophical core of
his characters, it seems like an unlikely choice.

Nevertheless, when you look at Malick’s films it actually makes
sense. His love for nature, German/French philosophy, classical
music and astronomy, shows that his passions have a greater
influence on his filmmaking than cinema itself.

The fact a life passion can be just as effective as an
encyclopaedic cinematic understanding, really makes the original
question void.

Of course good knowledge will always provide a solid foundation
for a film-makers work, but without a creative sensibility the
film will always be impotent of visionary value.

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Matthew E Carter is a Film-maker, historian and writer. He works
with the film collective Black Country Cinema.
http://www.blackcountrycinema.com
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4. Film Directing Coach – Peter D. Marshall
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Actors, Singers and Athletes Have Private Coaches. So Why Not
Film and TV Directors? http://actioncutprint.com/filmdirectingcoach/

Hilary Swank used an acting coach to prepare for her role in Boys
Don’t Cry. She won her first Academy Award.

Singer Renee Fleming has always used a vocal coach. She has won
several Grammy Awards.

Rafael Nadal’s coach urged him on from the sidelines during his
Wimbledon tennis tournament win in 2010.

Arnold Palmer improved his game with the help of a coach. Even
Tiger Woods has had several coaches.

As a matter of fact, winners in nearly every profession
(athletes, actors, singers, business executives) know that
without the right coach, they won’t perform at their peak.

They know that without the support of an experienced and
qualified coach, they would constantly struggle to achieve
success.

So if these top professionals in their respective fields use
coaches, why not film directors?

So why hire me as your film directing coach?

Along with my international teaching experiences and my 39 years
of professional filmmaking experience (as a TV Director and
Feature 1st AD), I feel I have the necessary qualifications to
help you achieve your dreams of being a creative and successful
independent film director.

With that in mind, I would like to introduce you to my Film
Directing Coaching services via Skype:
http://actioncutprint.com/filmdirectingcoach/

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5. Subscriber Shameless Self-Promotion (Free Advertising)
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The Director’s Chair gives you an incredible opportunity to get
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There were no Shameless Self-Promotion’s this month 🙁

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6. Filmmaking Links of Interest
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1. The Digital Revolution is Changing Filmmaking
http://bit.ly/1iG3D57

2. 6 Filmmaking Tips from William Friedkin
http://bit.ly/1hu7P7A

3. How To Achieve Your Filmmaking Goals Fast
http://bit.ly/1prC8Rc

4. Low-budget films rely on shortcuts
http://bit.ly/1giA6CI

5. For Female Filmmakers, Indies Provide More Work Than Studios,
Study Finds http://bit.ly/1lwtnl7

6. 12 Iconic Directors Share Their Thoughts on Filmmaking & Style
http://bit.ly/1hNUjLP

7. Paul Thomas Anderson and Nicholas Winding Refn Team Up To Save
35MM http://bit.ly/1oGEbRg

8. Great Filmmakers and their take On Filmmaking and Style
http://bit.ly/1n8NuM5

9. Launch Your Own Film Production Company: Advice From Those in
the Industry http://bit.ly/R3dw5m

10. 10 Films That Can Teach You Everything You Need To Know About
Cinematography http://bit.ly/S1Qs8q

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7. Product Promotion And Film Workshops
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From time to time, I will contact you to inform you of film
workshops, filmmaking products or Online courses that I feel are
beneficial to filmmakers like yourself. Of course, you are under
no obligation to purchase anything – I only offer this
information as a service to subscribers of this free ezine.

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9. Copyright Information
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Copyright (c) 2000-2014
ActionCutPrint.com Peter D. Marshall
All Rights Reserved

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