Citat:
Så sent som för några veckor sedan skrev Steven Soderbergh om filmen om just det du verkar ha synpunkter på om jag har fattat det rätt -Nu var det flera år sedan jag såg Taxi Driver så jag har inga direkta förslag på förändringar på rak arm. Men det är väl lite som jag skrev förut om Raiders, misstag som man inte skulle ha tagit med om man var noggrannare och mer professionell och arbetade mot perfektion som man gör idag.
http://extension765.com/sdr/18-raiders
Han slängde upp filmen i svartvitt med elektronisk musik för att studera endast hur filmen är filmad/scenerna är planerade.
"Fincher said it: there’s potentially a hundred different ways to shoot something but at the end of the day there’s really only two, and one of them is wrong). Of course understanding story, character, and performance are crucial to directing well, but I operate under the theory a movie should work with the sound off, and under that theory, staging becomes paramount (the adjective, not the studio. although their logo DOES appear on the front of this…).
So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not saying I’m like, ALLOWED to do this, I’m just saying this is what I do when I try to learn about staging, and this filmmaker forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math shit).
At some point you will say to yourself or someone THIS LOOKS AMAZING IN BLACK AND WHITE and it’s because Douglas Slocombe shot THE LAVENDER HILL MOB and the THE SERVANT and his stark, high-contrast lighting style was eye-popping regardless of medium".