Here is the complete text:"Young Soviet cinematography shows the importance of unconditional solidarity is all that makes the operator to what the director wants. Light distribution. Tone photographs. Linking the overall composition of the scene with the song movement. All factors of psychological impact on the viewer.Helping the action and, if necessary, and to characterize it, it was my goal when I was working on the movie 'penal servitude. " In a few sentences, written in the characteristic of the time, "telegraphic" style, problem statement formulated briefly and accurately. And I wrote it does not mellow master and novice operator, who shot just two films.Characteristically, the first Kosmatov says the importance of "cohesion" director and cameraman. Absoluteness that he learned in practice, working on his first, still silent films that he made with director Rayzmanom Yermolinsky the scenarios:domestic drama, "Circle", "penal servitude" - a film about the horrors of the royal exile and resistance revolutionaries, semi-documentary film "Earth wants" download the film erot?c
and dedicated socialist reforms in Turkmenistan. All three films are marked finding his theme, his language.Demonstrate its confidence in the professionalism of the show of modern life in the "Circle", they take up quite unlike him "hard labor."Having the "hard labor" a big success in a tight, expressive fine the difficult tragic themes, again they seem to refuse to found and proven techniques and shoot poetic film "Earth wants," in which a dying and tragic episodes of the desert without water and imbued with heroic pathos scenes struggle for waterfiled in harsh documentary fashion. These experiments have given a lot of boring. Working on the "hard labor", he estimated, and the expressive possibilities of the world, particularly of the light spot, emphasizing the most important thing in the frame, and kinokompozitsii and rakursnyh constructions.In the film "Earth wants," he comprehended by simple and naive at first documentaries that are actually skillfully " organized" by the operator. This film helped Kosmatovu learn rhythmic patterns of cinema - he learned in a plastic rhythm of each frame in the rate of motion to consider the future mounting rhythm movie.Even in the silent film version of many episodes is impressive, shot and edited the music. Especially important were for Kosmatova together with director search for the most complete and in-depth display on the screen rights.Uzho in "hard labor" began to emerge so characteristic of mature works Reisman love for psychological detail, to the subtle nuances of acting.Kosmatov with all his passion for the effects of light and camera angles caught it, still "hatch" hell rayzmanovskoy direction and in many "actors" personnel refused any effects, focusing the viewer's attention on the face of the actor.
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Different task stood before him in the film "Earth wants."There was no download the film erot?c
and detailed psychological development of the characters, and the operator had to compensate for the lack of depth precision and capacity of external characteristics.