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From The Frame
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Добавлен 20 окт 2022
Here at From The Frame we love movies and everything that goes into making them. In that vein, we want to delve deeper into what makes us appreciate particular shots, scenes, sequences, bits of dialogue, unexpected performances, and the specificity of choices creators make. In each video we’ll explore various aspects of the filmmaking process to uncover the impact stories can have on us - leaving us amazed, astonished, and in awe long after we’ve turned off the screen.
When the ‘Mistakes’ Make the Movie Beautiful
When discussing the way a film looks you’ll often come across posts that focus on how intricately a scene was framed, the unique way certain shots were composed, and the overall beauty of the cinematography. Well, either that, or discussions picking apart continuity errors, editing mistakes, lighting inconsistencies, and terrible shot compositions. But what about films where “looking bad” is what makes them beautiful? What happens when these so-called “mistakes” are what make a film truly work? It is in this vein that I would like to examine what I consider to be a truly brilliant example of this, Lars von Trier’s 1996 film Breaking the Waves.
//CLIPS & MOVIES
The Night of the Hunter, Sola...
//CLIPS & MOVIES
The Night of the Hunter, Sola...
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Видео
TWISTER | A Milestone for VFX
Просмотров 78 тыс.4 месяца назад
With the release of Twisters it only seems fitting to discuss its 1996 predecessor, Twister. Much has been said about this film's elaborate practical effects, and rightfully so. They are truly impressive! But equally impressive are the intricate visual effects that, when married with all the practical effects, shaky camera work, skillful production design, art direction, and amazing stunt work,...
Directing Under the Influence | The Fallacy of Originality
Просмотров 315 тыс.6 месяцев назад
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft)...
Aspect Ratio & Director's Intent
Просмотров 212 тыс.8 месяцев назад
With IMAX releases like Villeneuve’s DUNE Part 2 and Nolan’s Oppenheimer comes the perennial debate on aspect ratios. Which framing is best? Who’s getting more? Who’s getting less? But there’s a bit more nuance to this debate. These questions miss a key component of the filmmaking process: the DIRECTOR’S INTENT. They fail to acknowledge the way cinematographers like Greig Fraser or Hoyte van Ho...
Yorgos Lanthimos’ Evolution as a Director
Просмотров 83 тыс.10 месяцев назад
Yorgos Lanthimos’ newest film, Poor Things, marks a distinct turn away from some of the stylistic choices he’s made throughout his body of work. However, even though Poor Things showcases his willingness to explore new visual approaches, it is still unmistakably a Lanthimos film. His directorial style is anything but conventional - unorthodox rehearsals, unconventional coverage, creative use of...
How a David Fincher Film Sounds
Просмотров 16 тыс.11 месяцев назад
David Fincher’s films have often been analyzed for their visual style - the exacting cinematography, precise editing, muted color palette, and meticulous construction of the frame. But with the release of The Killer, people are starting to take note of another aspect - his evocative use of SOUND. However you can’t really discuss the sonic landscape of a Fincher film without talking about one of...
Good Acting vs GREAT Acting
Просмотров 302 тыс.Год назад
What differentiates good acting from acting that is great? Ultimately, this is a subjective question that deals more with taste than a concrete definition of what makes an actor good or bad. While no truly objective standards to judge a performance exist, there are specific factors that can be considered in order to more persuasively frame a conversation about why some actors move us while othe...
Why Some Movie Adaptations Fail
Просмотров 3,7 тыс.Год назад
Book to movie adaptations, video game to television show adaptations, short story to limited series adaptations - there’s no shortage of material from which filmmakers can adapt. Sometimes movie adaptations can be just as good as the book, graphic novel, video game, or other material they're based on. Other times filmmakers just can’t seem to get them right. In this video we’ll look at why some...
When the Director Makes You Aware of the Camera
Просмотров 11 тыс.Год назад
Camera movement is an essential piece of a film’s cinematography, and can often become part of a director’s authorial presence. Think Kubrick’s long tracking shots or Fincher’s subjective camera. However, such movement can often defy the narrative, drawing attention to the camera itself, and momentarily fracturing our film viewing experience. Let’s explore the reasons behind these types of came...
How Greta Gerwig Makes a Film
Просмотров 23 тыс.Год назад
From Frances Ha to Barbie, Greta Gerwig’s films have a distinct style and voice - a thread that runs through her body of work. From her roots in theater, to her early films with Joe Swanberg and the Duplass brothers, Gerwig has established an approach to filmmaking that is all her own. So what makes a Greta Gerwig film? By focusing specifically on her work in Frances Ha, Lady Bird, Little Women...
How a Video Essayist Becomes a Filmmaker
Просмотров 9 тыс.Год назад
From Kubrick to Ozu, Bresson to Tarantino, Wes Anderson to Hitchcock, and much more, Kogonada’s video essays provide comprehensive breakdowns of the formal elements such filmmakers use in their work. For him, video essays offered a way of reconnecting with his love of cinema, outside the world of academia. His first feature, 2017’s Columbus, marked an impressive marriage of the form he studied ...
Why is Method Acting so Controversial?
Просмотров 175 тыс.Год назад
From Jeremy Strong’s performance as Kendall Roy in Succession to Jared Leto as the Joker in Suicide Squad to Daniel Day-Lewis in, well, anything really, commentary attacking actors' processes seem to abound. Today there is a lot of controversy around the Method and actors who utilize this process, regardless of whether they identify as being method actors or not. In this video essay I will take...
Cinematography at Night
Просмотров 62 тыс.Год назад
Night exteriors present cinematographers with a unique challenge. Do you go for hyper-realism or something more lyrical and poetic? This video explores the varied ways cinematographers have represented night on screen. From the grounded, gritty, vérité of The Last of Us - the vast ambience of the dusk-for-night work on Dune - an homage to classic day-for-night in Mank - the creation of an entir...
Joaquin Phoenix is the reason Why I became a method actor as his performance in Joker (2019) blew my mind, and while I was watching the film, I always knew Phoenix would win the Oscar, which he's waited for a long time.
Typical comment from someone who is not creative. Now, Hollywood is not the king of creativity, so looking for examples of lack of creativity in Hollywood cinema is cheating XD Postada: vocal fry is very annoying.
I could give a flying FK about the "directors intent". plus most are cropped to shit because of muh "cinematic feel". CinemaCrapScope SUCKS.
You're my new favorite cinema video essayist. This essay is SO GREAT. Your analysis, choice of references and depth of field reflects a tremendous intellect. Excited to find this channel.
Well, obviously. Nothing is imagined in a vacuum. Literally _only_ nothing can be imagined or constructed in a vacuum. Humans initially got their mental images from the environment and other humans. Then those images and concepts got used and slightly modified to fit a different location or framing than what they were used for before. And that process just continues to the present. They're applied at a different time. They're combined with other derivative concepts and images that create a unique _combination_ of things. All sets of things are built from already existing particulars and subsets.
Ah yes... the famous Wesley Craven horror "The Holes Have Eyes". Was this video made by an AI? It sure wasn't made by people "who love movies and everything that goes into making them". FFS... the god damn poster you're talking about is IN THE FRAME, From The Frame. YOU CAN READ THE TITLE! IT IS THERE!!!
G0Fa$tBoatsMojito will now be my new fav password
One of the best documentary film on this director I have ever seen
Great essay!
Such an inspiring and insightful piece, thank you for putting in the time to create it.
Excellent video essay.
This is a really well made video, but it feels like it's missing some subtext. Let's ignore semantic words like "stealing" and "borrowing" and simply ask, when does an homage cross a line? When does having an original idea warrant artistic credibility and when does copying a scene warrant criticism? Those are more difficult questions and I think it would be interesting to see an exploration of the answers.
I feel like it spent its full length responding to a straw man. Is there an argument that homages are considered stealing when they're openly acknowledged by their very nature? How do they add to the decline of originality? Are movies, or any medium, merely composed of the same references arranged in the same sequence? Should I brand Lynch's films as unoriginal because they incorporate elements from Tati and Hitchcock?
Ridley Scott’s film “Legend” pays homage to Cocteau’s “Beauty and the Beast”
Lovely. Thank you.
great video I loved it
4:00 Greta Gerwig: ‘you can give ‘faster’ / ‘slower’ but that’s usually not useful’… David Fincher through the entire filming of “The Social Network”:
Booooooooo
I love that you're giving VFX and CGI their due. That time period in the late 80s, early 90s really ushered in a new era of filmmaking.
19:26 Charlotte Wells can be casted for Isabella Rossellini
The world rises your son now.. the internet raises your son
This is a truly good video. I watch RUclips all the time but it’s rare to find a video with as much substance and this one. Thank you.
It is a reality that many movies disappear from common knowledge over time. Humanity is about carrying on the torch. How will future generations know about Dancing with the Wolves and the principles it carries without watching Avatar? Isn't that the purpose of storytellers?
great video essay, thank you!!
Im an actor trying to make my 1st film in NYC and wondering if anyone is interested in helping 😎
I know if I ever become a famous actor I'm going to make stuff up whenever asked about my process. Like say I found a shady doctor in a third world country to stop my heart and revive me to prepare for a role that I die in. Or give my kid up for adoption only to adopt them after the directors cut got released if my character loat their kid. I'll encourage the cast and crew to verify these claims and give them the freedom to make up stuff on their own if asked which I'll confirm are true.
This video essay should have 10 million views
what is that music at about three minutes fifty five...?
Who is jeremy strong?
Thanks
The fact I'll never see Dune how its meant to be seen ever again because home release only has the widescreen is 100% bullshit
If anybody has read the script of "The Little Women" written by Greta Gerwig, you'd find this movie is so badly directed. None of the actors have pulled their weight. There are such clear moments in the script that make a scene magical and the actors have paid no heed to it and just rushed through them. For eg the last train scene where Fredriech says "i have nothing to give to you, my hands are empty", Jo's character holds his hand and says "no they are not"-now look at what Saoirse Ronan has done in the scene. The only thing that the script maybe did not have was an inherent rhythm. The only element of structure that pops out is the back and forth in time. Was that what led to this rushing? I wish somebody who has read what Greta wrote would interview here about how she directed it.
Brilliant video!!!
This videos needs to be an hour long
You didn’t show Repo Man while Paul Thomas Anderson was talking about Robby Müller. It’s been years since I’ve heard that interview, but I think they get on the subject of Müller there because they’re talking about Repo Man.
Lars von Trier's films are super liberating. I had much more convictions about strict filmmaking processes in order to create a top tier piece, but quite literally everything changed since I've started watching his works. And by the way, willing to understand his decisions I also changed my way of preparing for someone's films. Similar to David Lynch he leaves so many hints about his vibes and worryings and overall moods of his works in his interviews and stories. My most rewatchable director.
What I’ve seen from film in the last few decades seems to shun the beautiful in the same way it shuns transcendence.
Breaking the waves! My girlfriend and I went to see that in a quite small cinema, and had to sit in perhaps the third row from the screen. We both had to leave after 30 minutes because of nausea. A unique cinematic experience for us.
Can definitely see how a film like this could have that effect on the big screen.
Muller is not discussed enough these days. And… why did it take me this long to realize that I had seen Emily Watson and Stellan Skarsgard together before Chernobyl.
Yeah, I loved them in both as well!
I personally found the cinematography of this movie a bit punishing, even if it elevated the work as a whole.
You’re certainly not alone. A number of reviews from the time of its release had a similar sentiment.
I know everybody is locked in their own way of seeing things, and this is mine and I even put characters talk about it in a book I've writen: it's all great until we have bells tolling in the clouds, in the end. This ends the mystery, this ends the miracles, this ends transcendence. Because in the universe of the movie, god exists. We, as viewers, are left with no chance to choose for ourselves. The way the movie looks is more or less irrelevent to me, because of this. It's a sort of cheating device the way the movie ends.
This is one of the more common critiques of the film’s ending and it’s definitely valid. I wanted to address the bells in the video, but also, that scene feels like such a climactic moment that leaving it in for anyone who may not have seen the film just didn’t feel right. I was left devastated at the film’s conclusion, but also did not interpret the bells as necessarily proving God’s existence. To me this film was just as much about love as it was about faith (the original title for this film was ‘Amor Omnie’ or ‘Love is Omnipresent’ from Dreyer’s film Gertrud). Similar to the way the melodramatic narrative clashes with the documentary-like camera, the CG chapters and bells directly contradict an otherwise very naturalistic film. Rather than being grounded in reality as definitive proof of God’s existence, the bells to me had a more existential quality. The ending felt meaningful/impactful, but ultimately open to interpretation based on your perspective. Does Breaking the Waves reflect reality, or, like the children’s book that inspired its creation, a fairytale? Is the film rooted in religion, or something else? I think everyone engages with a film differently, so it’s really open to interpretation, as most of the best films are.
@@fromtheframe Faith is put down with those bell in the clouds. Their distant sound should have been enouugh There is no space for interpretation. What are the bells doing in the clouds? We either answer this or we question the whole movie. I prefer to question those last seconds. The film is not filmed like a fairytale. It's filmed in a way to reminds at all times that it is pretty real and raw. Everything else is just fine and is probably his best work.
Decades later, still too emotionally raw to rewatch this film. Interesting to lear the process that created this, as I saw this long before RUclips video essays or knowing jack about film theory. I just wanted to see the new film with Emily Watson in it.
Many of von Trier’s productions actually have some really interesting post-processes. I connected with this one the most because of the way the form sort of contradicts the film’s content, but yes, this film truly left me devastated and certainly isn’t something I can watch over and over.
@@fromtheframe Yeah, if it wasn't clear, this is also one of my favorite films. I just can't actually watch it again :-D But also can't forget it.
Do you have a link to the interview with Christopher Doyle at 2:14?
It’s an interview between Anthony Dod Mantle & Christopher Doyle from Berlinale ‘06 called 'Here's Looking at You, Kid' (it’s on the Berlinale Talents website).
Fantastic critique as always, and the journey you take us on is mesmerising. Cutting to preserve the emotional integrity of the scene is something I’ve heard several times, but this is the best example I’ve seen of it explained.
I know a lot of editors don’t necessarily cut for continuity - Walter Murch’s book is pretty clear about prioritizing cutting for emotion - but this film ratchets that up to a pretty astounding level.
Kermode „hayted“ the film? Oh wow that’s a pretty hot take… how can you be interested in original inspired films and hate BTW??
Katrin Cartlidge is such an underrated actor, I wish to have seen her in many more films
Agreed, she was such a talent.
8:48 - oh right I forgot that she looked at the camera in some shots..! like she’s asking „did this terrible thing happen because of me?“
intentionally making an image look "bad" is a valid creative decision, but the people doing it, definitely have to be competent at making stuff be conventionally and technically good in order to properly make things "bad" and know the right moment when to break the rules. Not having any technical knowledge, not knowing the "rules, or the cinematic language and then attempting to deliberately "break the rules" just begins the process of creating a finished work, that's something like "The Room" (2003).
The Room definitely is a rough film; however, for me, its sins lie beyond its cinematography.
I almost brought up McCabe & Mrs. Miller in this video, because that’s an excellent example of another filmmaker striving for a more realistic image over one that is viewed as conventionally beautiful. Altman wanted the film to resemble a dreamy, faded photograph so DP Vilmos Zsigmond flashed the entire film negative to give the film that pastel look. He then used diffusion filters and underexposed the negative, which was push-processed in post. That coupled with Altman’s use of overlapping dialogue creates layers of authenticity that add to the film’s realism.
I looove Robby Muller, his trademark ability of making beautiful yet un-beautiful images is unmatched, in my opinion, except maybe by Kubrick.
Müller’s work is definitely some of our favorite!
What you think of the direction in Oppenheimer?
What specifically?
@@fromtheframe well I feel like Nolan is a director that also likes to leave mistakes in his works, was just wondering if you were able to see that in Oppenheimer?
Oh yeah! That definitely is an aspect of that film, but in my opinion not necessarily in the same manner as Breaking the Waves. For Nolan, leaving in mistakes feels like more of a byproduct of the fully optical process where he can’t digitally go in and fix things. But more interesting, your comment just jogged my memory that Hoyte van Hoytema actually was mentored by Robby Müller, so…maybe there is something to the parallels you’re drawing after all!
Incredibly thorough, well paced, insightful historical context and interviews, and just gorgeous examples from a pretty incredible variety of films. I don’t know if you particularly hit your thesis perfectly because I thought some of the shots were actually quite beautiful in their humbleness 😅 But I really enjoyed the journey you took me on with the analysis and story presented.
Thanks! Haha, it admittedly hurt a bit to put this film in the category of ‘not conventionally beautiful’ because we love it so much, but its visual design is one of the reasons why it’s so compelling - and in the end that makes it truly beautiful.