There is no doubt that good fortune and big success will not patronize people for no reason. The reason could be that some people work really hard on their work, and it could be some people get a lot of help from other people, and it could be some people get huge talent and use it well, and it could be some people have a lot of enthusiasm for the thing they are doing.
Working and living in film and art industry, in many times, “the four reasons” are extremely significant and integral in order to get achievement. Born with talent should be the essence because sometimes working hard cannot make up the defect of genius in the case of dealing with the art, which the art includes any types of art, music and films. Nobody is living in vacuum, so people have to communicate with each other and they have to make friends. Any types of friends and the families can be a driving force help people succeed. All roads lead to Rome, but no road is for the drone. Everything is ready but people do not work hard, nothing can be done well. Finally, only if the work is something the people are very interested in and have passion for, their passion will be the shortcut of abundant accomplishment.
Sophia Coppola, as the only daughter of Francis Ford Coppola, who is famous about directing The God Father I, The God Father II, The God III, she was the youngest kid in this film family since her birth on May 12, 1971, in New York City. On account of her big film family, she was born to be unusual and successful. Francis Ford Coppola, a famous film director, producer, and screenwriter, is Sophia’s father, and Eleanor Coppola, a documentary filmmaker, artist, and writer, is her mother. Not only her parents are the filmmakers, her whole families are or were wo...
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...n Hollywood with the biggest filmmaking team in the world, independent filmmakers produce, write, find casts, shoot, and edit the film all by their own. Working in the endless ocean of film industry, it is like Hollywood filmmakers are taking the Titanic, and independent filmmakers are taking their own tiny boats. To some extent, independent filmmakers are warriors for fighting for their dreams and beloved careers. They are the brave dreamers that write and present the stories and spirits in their minds. To achieve the success is tough for everybody but even tougher for those independent filmmakers. Therefore, their accomplishments become more valuable. Sophia Coppola, Woody Allen, and The Coen Brothers are all great and most outstanding independent film producers, directors and writers, etc. Their successes are not easy and they could not get without “the reasons”.
...t have an ultimate goal to express something they care about on film. They must not only express this in their script, but carry through on it by directing, producing and pulling together many other aspects of the film by themselves. Three filmmakers that fit this description to a “t” are Kevin Smith, Spike Lee and Alfred Hitchcock. These three men all went out with the same goal: To express their views of life in extraordinary films. They all went above and beyond their call of duty and are now ranked among the top filmmakers of history, the rank of film auteurs.
This point is illustrated by the heated controversy surrounding the director’s Lifetime Achievement Award, which was presented to him at the 1999 Academy Awards. Kazan’s importance to the world of cinema is undisputed, but Hollywood remains divided by a single political affair that took place over half a century ago. The Academy Award was therefore protested by some and supported by others. But should Elia Kazan still be regarded with such contempt by his peers and contemporary members of the Hollywood community? Should his legacy be based on this one transgression, rather than his long history of cinematic achievement? And has Kazan already put the entire subject to rest in On the Waterfront, perhaps the best work of his entire career? I hope to answer these questions in an essay that will discuss the t...
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
Lisa Cholodenko grew up in Los Angeles and she began her film careers working as an assistant editor; however, she then moved to New York and earned an MFA in screenwriting and direction at the Columbia University School of arts. At Columbia University School of Arts, Cholodenko filmed her first short movie Dinner Party. Besides being a director, Lisa Cholodenko also was a film professor at Columbia University, an advisor and is currently on the Board of Governs of Academy of Motion Pictures Arts and Science. It was surprising to be able to find out how active Cholodenko is in the film industry and in the university she attended. This portrays how committed Cholodenko is to creating successful movies and to be a part of others film victory.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
Hollywood has for over twenty-eight years created and supplied products associated with movies to all main film studios, leisure and entertainment industries. The most revered clients recognized in the entire world include Disney, Paramount, Colombia, 20th Century Fox, Warner Bros and Universal among others. For this basis, the greater part of the actors all over the world wants to labor and make a living in Hollywood. The exceptional and distinctive characters have their own customs, beliefs and cultures which aid them to pursue fame and fortune in this Dream Factory. Every talented person desires this American dream. There are numerous prospects that make life better and in Hollywood, t...
I will begin my essay by looking closely at the narrative of Sunset Boulevard to see where and how the film represents the Hollywood Studio System. At the beginning of the film the audience is introduced to Joe Gillis, a script writer who is struggling to pay his rent as he in unable to sell his scripts to the ‘majors’ of Hollywood. The film follows Joe to ‘Paramount Pictures’ one of the major studios in Hollywood, which the film pays a large self reference to as the producers of Sunset Boulevard as well as representing the studio system.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
While growing up, Aronofsky had the great pleasure of seeing the greatest movies being released for the first time in theatres. Spielberg’s Jaws and George Lucas’ Star Wars were great successes that triggered a further liking of film for Aronofsky. Coming from a strong household and educated with an MFA in Directing, Aronofsky’s great successes were becoming f...
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
Todd, Kennedy. "Off with Hollywood's Head: Sofia Coppola as Feminine Auteur." Academic Journal 35.1 (2010): 1-37. EBSCO eBook Collection. Web. 26 Feb. 2014. .
When delineating between first and second generation American Independent cinema directors there is a fine line separating the two generations. This line usually lies somewhere in the early 80’s when the term ‘American Independent Cinema’ first began to emerge. Many other things that were pertinent to the American Independent Cinema movement also arose such as the emergence of video as a media form. There is a strong distinction in the change of dynamics between film school in the first and second generation of American Independent filmmakers as well. Reichardt exemplifies a strong relation to the second generation, executing these ideas in her films such as Wendy and Lucy and Old Joy.
Independent film is in many ways, an oxymoron. At one point the well-known independent films truly were independent from the influence of the major studios. They were creations from the artistic ideas and expressions of persons free from the influence and oversight of a studio. While there still is a plethora of independent filmmakers throughout the country and worldwide, the independent films that receive the most exposure tend to at some point receive support from a major studio or one of the studio’s distributors. The problem with independent film is the label people associate with it. What constitutes an independent film? Is it total creative autonomy free from a studio, and inevitably, free from the financial support that studio and their