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Fairy tales of the Viennese wood
FILM FORTY SHADES OF BLUE The next stage of my occurrence of the movies had a meeting with nature, shooting outdoors.For the uninitiated, in our case it may seem paradoxical, but how much harder it was to run on this road, go with the real sea, sit down at the train, you play the same in stage scenery. The authenticity of the surrounding atrophied imagination - it is not necessary.But the imagination - the main agent of creative actor in the theater. If an actor on stage raises a large rock made of papemashe, he imagines his heavy and makes the audience believe it. And lifting the stone itself - is an art. Cardboard stone can be lifted in many different ways depending on the nature of the character:muscles do not work, and the imagination. In the movie, the real stone. Working muscles. Fantasy sleeps. But even if we wake her up at will, it will only fail. In the movie, other requirements and other laws. In the movie, in this scene the director will cherish it your true muscle tension, stress and not imaginary your character.On stage, the obstacles in the vast majority of conventional, imaginative and overcoming them - game art. In the movie, especially in nature, and overcoming obstacles to authentic real, and because every game there is only a hindrance.Art is largely created installation and performance of the actors in close-ups, which, incidentally, is also very different from the stage play. Filming on location - on the streets of different cities, on roads, in villages - I could not get rid of a feeling of awkwardness, perhaps even shame.The crew stopped at a certain location a normal life and return it to the natural environment to create another - artificial. I played through the streets.On the whole block was download the film Forty Shades of Blue and placed in a hundred people crowd, dozens of cars were shooting at the ready for a police guard a crowd of onlookers, curious idlers for many hours lying on the window sill of his window, his head hanging. Deafening shouting through speakers assistants.Gigantic audience, mass, center and goal of action which I was - my passage. "Action" - and set off. And I went. And theater habit feel responsible to the crowd, you want to give her something to justify its expectation - to play. And then the truth sensitive director yells "Stop!" False. Theater.No need, no need to turn spectators into the audience: it is necessary to close, withdraw from them - that is only necessary to use is called imagination. Art film actor - a lonely art. Public alone in the theater - play alone, it called on the public to the public. In the movie you want this loneliness - not in public, and in the crowd. You and the camera. And in the dialogue.Innermost fame: While referring to the close-up - not a partner, not a spectator - the camera.
WATCH THE FILM FORTY SHADES OF BLUE IN EXCELLENT QUALITY ONLINE I talked about the actor's imagination and its relation to natural, natural objects. No less interesting to study the effect of unconditional factors on the viewer's imagination. Here we will have to address the performing arts. Again, the paradox:movie, which is made up of pieces of almost natural life, comes to the viewer in terms of absolute convention - images on a flat screen and in the theater all arbitrary, but the audience - a living, real man of flesh and blood, always concealing itself the possibility of surprise.At one time we used to play with Charcot pop miniatures Stephanie Grodzenskoy "Lisbon." It dreams of faraway heroes travel lyrical and funny are reduced to the most possible, close and it just - walk in the park Vilyanuvskomu in Warsaw, in two steps away from them.