{download Pdf} Making MoviesAuthor Sidney Lumet – Multi-channel.co

From One Of America S Most Acclaimed Directors Comes A Book That Is Both A Professional Memoir And A Definitive Guide To The Art, Craft, And Business Of The Motion Picture Drawing On Years Of Experience On Movies Ranging From Long Day S Journey Into Night To The Verdict, Lumet Explains The Painstaking Labor That Results In Two Hours Of Screen Magic


10 thoughts on “Making Movies

  1. says:

    IL MESTIERE PI BELLO DEL MONDO Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei in Before the Devil Knows You re Dead Onora il padre e la madre , 2007.Sidney Lumet ha un curriculum imponente e impressionante quasi sessanta anni di attivit , cominci a fare il regista in teatro esperienza che lo segner , quanti suoi film sono adattamenti cinematografici di pi ce teatrali , attraversando la televisione che negli anni Cinquanta in US sperimentava e innovava il linguaggio pi del cinema dell epoca, proprio come succede adesso , per esordire nel cinema a trentatre anni nel suo paese, non proprio ragazzino a quel punto 42 film e altrettanti lavori televisivi tra miniserie, serie, tv movie ed episodi sparsi Un Oscar alla carriera e quattro candidature come miglior regista.Titoli memorabili, come La parola ai giurati, Pelle di serpente, L uomo del banco dei pegni, La collina del disonore, Serpico, Quel pomeriggio di un giorno da cani, Assassinio sull Orient Express, Quinto potere, Il verdetto, e l ultimo, forse il suo capolavoro, Onora il padre e la madre altri titoli meno riusciti, e Lumet il primo ad ammetterlo in queste pagine.Paul Newman in Il verdetto , 1982.Faceva film in modo diretto semplice e pragmatico, con passione, e competenza, e precisione, curando il dettaglio di ogni aspetto, con umilt e senza retorica con le stesse qualit e nello stesso modo ha scritto questo libro, senza cedere alla tentazione di fare del facile gossip sul suo lavoro.Lumet ci accompagna in ogni aspetto della preparazione di un film, dalla pre alla postproduzione, passando per il casting, la scenografia, i costumi e gli effetti, le riprese e il montaggio, la scelta della colonna sonora, il missaggio, le luci e la distribuzione, il lancio e la promozione, fino all attesissima uscita in sala, raccontando cos un viaggio meraviglioso lo sviluppo e la trasformazione di un idea in film.William Holden, Robert Duvall, Peter Finch in Network Quinto potere , 1976 Assente giustificata da questa immagine la magnifica protagonista Faye Dunaway.Come i suoi colleghi, Lumet sapeva di fare il mestiere pi bello del mondo Un mestiere che porta a contatto di una grande quantit di persone, un lavoro davvero collettivo, fino al momento finale, quando l opera sullo schermo, e l l artista torna solo con la sua responsabilit complessiva Un mestiere elettrizzante e faticoso, fisicamente e mentalmente esigente.Nel nostro paese le cose vanno pi o meno come le racconta Lumet solo tutto pi in piccolo, con meno gente coinvolta e meno soldi, meno tempo a disposizione, lo stesso talento, ma anche spesso, pi improvvisazione, o pi cialtroneria.Sidney Lumet e Al Pacino sul set di Quel pomeriggio di un giorno da cani , 1975.Una lettura per addetti ai lavori, per studenti e appassionati, per amatori e curiosi, una lettura per passatempo, una lettura per tutti.Non un libro per imparare a fare un film un libro che fa innamorare dei film.Se mai ce ne fosse bisogno Se per caso questa arte che crea mondi nuovi non fosse gi nel cuore di chi legge.Sean Connery secondo da dx in The Hill La collina del disonore , 1965.


  2. says:

    2019 Re read Sidney Lumet has always been one of my favorite directors and a big filmmaking inspiration to me He s always enjoyable to listen to when he speaks about the craft and I ve learned so much from him over the years, even from simply watching his movies, which includes numerous classics like Dog Day Afternoon, Network, The Verdict, 12 Angry Men, and Serpico.And this book is a great summary of everything that makes Lumet awesome You get a sense of his theories on filmmaking and working with actors, as well as great on set anecdotes And it s all told in his trademark pragmatic tone that s easy to read, non technical, totally relatable, and completely unpretentious.When people ask me about required reading for filmmakers, I always include this on my lists.


  3. says:

    lumet s an interesting guy to think about if one decides to make a film the guy s made some of the best films of our time but for me, lumet provides a cautionary tale of what not to become 12 Angry MenDog Day AfternoonNetworkThe VerdictSerpicoBefore the Devil Knows You re Deadall good and Network is great and he s made about fifty bad movies including A Stranger Among Us, Guilty as Sin, the remake of Gloria, etclumet s obviously an intelligent guy with good taste cites Carl Dreyer as his favorite director nice and he s an auteur a thematic quality runs through his best work and he clearly chooses his material by a certain standard but lumet is at the mercy of two things 1 the time in which he lives and 2 his cinematographer it s also worth noting that he comes from television which is about as visually distinctive as high school yearbook photography check it out 1 why are his 70s movies better why do his 90s movies suck well, he was a younger man in the 70s than in the 90s and had fire in his belly of course but he was also making films in american cinema s 2nd golden age the spirit of the time dominated his films gritty, tough films both thematically and visually intense character studies about flawed people obsessive and paranoid films as a response to nixon watergate vietnam 2 lumet s great w actors for sure his pacing is great, he knows how to construct a scene but visually, is there a lumet style well in making movies he states, for example, that the color blue never once appears in The Verdict paul newman s eyes as he wanted the film to have an autumnal feel ok that s kinda cool but, ultimately, is there anything visual to distinguish a sidney lumet film naw, not really and this is ok same for howard hawks for hawks it s all a code of masculinity and saucy dames he left the visuals to the camera guy fuck that i don t wanna be at the mercy of my cinematographer greg toland cinematographer of Citizen Kane famously explained that orson welles was able to reinvent cinema with his first feature in that he didn t know the rules , he didn t understand the limitations he demanded shots from toland that hadn t been done before and refused to hear that they couldn t be done but there s only one orson welles the rest of us will believe our DP when s he tells us that a shot cannot be done the rest of us will allow our DP to construct a shot fuck that filmmakers rule 1 on set, know how to do everybody s job better than them spielberg has kaminski, a visual fucking god, but every spielberg film looks like a spielberg film.in the early 90s francis ford coppola said that new technology would democratize cinema a few years back james gray said that new technology hasn t done much in the way of the democratization of cienema in that 99.9% of homemade movies suck gray s right you gotta know the technical stuff lumet is a very good filmmaker and i thank him kindly for Before the Devil Knows You re Dead the naked marisa tomei scenes have provided invaluable masturbatory assistance and making movies is a great read but, for me, it s a cautionary tale i might never make a film as good as network shit, i hope i make one half as good but fuck if i let my cinematographer or the time in which i live be the deciding factor of what my film looks like be like a writer banging out the beats of his novel only to have someone else handle the prose this is in no way meant to disparage cinematographers the great ones are every bit the genius as the great directors and a great cinematographer matched with a great director bergman nykvist godard coutard, coppola willis can create something transcendent but i ain t a cinematographer and in terms of my shit, i m an insufferable egomaniac and hopefully the tension b t a tough minded director and tough minded cinematographer will make em both better than they could ve been on their own.


  4. says:

    I grew up with the conception that movies were art The media would commonly refer to it as the 7th form of artistic expression I had my doubts In my young mind, it was easy to assemble a film together All people had to do was bring actors to their sets Then the camera would roll, and another motion picture was made It was now waiting in the cinema, and you could by a ticket for a reasonable price I was wrong There is much to it Creating film is a complex process The struggles are immense There are benefits in all of it, and the fact that it is a complex system gives extreme importance to the figure of the director a person I thought had it easy, after all, his role was to hire people to do it for him But this is not how it works Sidney Lumet, one of the industry s most revered directors, proves it Lumet not only writes a comprehensive success guide to his aspiring colleagues, he also informs the layman about every concealed aspect of his process To do this, he writes in a fluent, candid prose, that any person can understand., debunking and destroying various myths and misconceptions about his craft His wisdom, derived from yeas of experience, shines a new light on the herculean process of movie making It will transform your views, and make you appreciate the art even .


  5. says:

    Beautifully executed examination of filmmaking Lumet s generous sharing of his attention to detail from conception to final product explains the richness and care that went into his films even those that didn t work out Not gossipy, but does provide insights into the entire process.


  6. says:

    Sidney Lumet has than 50 films to his credit But I had seen only two of his films Dog day afternoon and Serpico prior to chancing upon this title on And I came to know that he had an honorary Oscar too for lifetime achievement in Cinema So bought this book based on reviews that it touches upon all aspects of Cinema And sure it does.This book came out in 1995, so certain aspects like cinematography belong to the period prior to that i.e before they started making digitally But if you have a liking to know about how things worked even if it doesn t serve a great purpose except as a point of discussion, you would definitely like this book Of course, certain aspects like lighting a set must remain the same now, which he says is the huge part of the filming process For instance, he does 8 9 hr days and shoots on an average 3 minutes worth of footage in a day and half the day goes into lighting a set It made me see things very differently For instance, it made me see differently a Tamil film song that I had watched numerous times shot by an ace cinematographer I always thought they just shot that song naturally meaning what is so great about the cinematography I was able to see that it must have been a lot of work making it look what it is.Also, I watched a couple of his other films Murder on the Orient express and 12 Angry men just to enjoy the reading process a bit so it doesn t hurt if you can torrent a couple of movies and watch it just in case you are reading this.It explains all the stages script, casting, pre production, cinematography, art direction, directing, editing, sound effects, musical score, sound editing and mixing other minor processes engagingly, in a not boring but detailed enough for a cinephile kind of manner There is no gossip about stars except if they deserve some praise for their work in some manner.Takeaway Making good movies is no easy job


  7. says:

    I recently opened an old box which had been packed years back with books It is wonderful when we pack a box and leave it to gather dust and then open it after many years We are surprised by some of the treasures that we find inside Sometimes we don t know how a particular treasure got into the box and why it has been lurking there for many years That is exactly what happened when I opened this box I was surprised by some of the treasures I found and I was very excited One of these was Sidney Lumet s Making Movies I vaguely remember the time around which I had bought this book I remember buying a few books on movies But I also clearly remember that I hadn t seen a single Sidney Lumet movie at that time So either I had heard his name and picked the book, or I picked the book after reading the blurb and browsing inside I am glad I picked it up It has taken me years to read it, but I am glad that I did I am glad I packed it in a box all those years ago, I am glad the book was in good condition and I am glad I opened the box at the right time when my movie taste was reasonably sophisticated and picked it up and read it.In Making Movies , Sidney Lumet shares his thoughts on movie making and the movie business based on his own experiences Lumet started making movies in the 50s, when Sidney was a boy s name and continued making movies well into the 2000s, when Sidney had firmly became a girl s name His first movie featured Henry Fonda and his last one had Philip Seymour Hoffmann and Ethan Hawke and Marisa Tomei In between there were a galaxy of stars who worked with him Sean Connery seems to have worked with him in a lot of movies and Lumet writes about them all in his book My favourite parts of the book were those in which he describes his interactions with Katharine Hepburn, Marlon Brando, Faye Dunaway and some of his wonderfully talented cinematographers and an absolutely fascinating lady called Margaret Booth who worked as the Chief Editor for MGM While sharing his thoughts on movie making and on the fascinating personalities he worked with, Lumet also takes us on a guided tour on movie making Each chapter discusses a different aspect of movie making and Lumet takes us from the time the movie is a concept till the time it is released There are some parts of movie making that he loves and there are other parts which he is frustrated with Lumet talks about them all both the good parts and the not so good ones This book was published in the middle of the 90s and so some of the things that Lumet says might probably feel a little dated now for example, how the limitations of photographic film influenced many decisions in film making Since the book was published the world has gone digital and many of the limitations of photographic film no longer apply to today s world Scott Adams said in his introduction to The Dilbert Principle , all those years back, that today any idiot with a laptop can write a book We can modify that slightly now and say that today any idiot with a smartphone can make a movie J But even with that caveat, Lumet s book is a wonderful education in filmmaking Reading it was like sitting in the class of our favourite teacher and listening to him sharing his wisdom on the practice of his art.Reading the book inspired me to watch of Lumet s movies Lumet started with a bang with 12 Angry Men a movie which has been imitated an infinite number of times but has never been equalled , and after an indifferent decade during the 90s, ended with a bang with Before the Devil Knows You re Dead I have watched 12 Angry Men and five of his other movies Network , Murder on the Orient Express and three of his 90s movies A Stranger Among Us , Guilty as Sin and Gloria These last three were all panned by the critics, but I still liked them who cares about the critics anyway , especially A Stranger Among Us , which I really loved I adored Melanie Griffith those days and she was wonderful in this movie I also think I have seen half of Serpico There are countless other great Lumet movies out there which I have not seen I want to watch them all And then read this book again while watching them.There is one thing I want to mention before ending this review It is a shameful thing that the Academy never gave Sidney Lumet an Academy award for Best Director He is one of the greatest directors of the 20th century and though his movies were nominated a countless number of times for the Best Director award, it is sad that the Academy ignored him, though they grudgingly gave him a Honorary award in the end Another great Martin Scorsese was ignored by the academy for many years before they grudgingly gave him the award for The Departed It sticks out like a sore thing in an otherwise brilliant film making career in which Lumet brought delightful pleasure to generations of moviegoers.Here are some of my favourite passages from the book the truth is that nobody knows what this magic combination is that produces a first rate of work I m not being modest There s a reason some directors can make first rate movies and others never will But all we can do is prepare the groundwork that allows for the lucky accidents that make a first rate movie happen Whether or not it will happen is something we never know There are too many intangibles Commercial success has no relationship to a good or bad picture Good pictures become hits Good pictures become flops Bad pictures make money, bad pictures lose money The fact is that no one really knows If anyone did know, he d be able to write his own ticket And there have been two who have Through some incredible talent, Walt Disney knew Today Steven Spielberg seems to.I ve also been accused of being all over the place, of lacking an overwhelming theme that applies to all my work I don t know if that s true or not The reason I don t know is that when I open to the first page of a script, I m a willing captive I have no preconceived notion that I want the body of my work to be about one particular idea No script has to fit into an overall theme of my life I don t have one Sometimes I ll look back on the work over some years and say to myself, Oh, that s what I was interested in then I don t know how to choose work that illuminates what my life is about I don t know what my life is about and don t examine it My life will define itself as I live it The movies will define themselves as I make them As long as the them is something I care about at that moment, it s enough for me to start work Maybe work itself is what my life is about.When I first meet with the scriptwriter, I never tell him anything, even if I feel there s a lot to be done Instead I ask him the same questions I ve asked myself What is the story about What did you see What was your intention Ideally, if we do this well, what do you hope the audience will feel, think, sense In what mood do you want them to leave the theater We are two different people trying to combine our talents, so it s critical that we agree on the intention of the screenplay Under the best of circumstances, what will emerge is a third intention, which neither of us saw at the beginning.Making a movie has always been about telling a story Some movies tell a story and leave you with a feeling Some tell a story and leave you with a feeling and give you an idea Some tell a story, leave you with a feeling, give you and idea, and reveal something about yourself and others And surely the way you tell that story should relate somehow to what that story is.Someone once asked me what making a movie was like I said it was like a making a mosaic Each setup is like a tiny tile You color it, shape it, polish it as best you can You ll do six or seven hundred of these, maybe a thousand Then you literally paste them together and hope it s what you set out to do But if you expect the final mosaic to look like anything, you d better know what you re going for as you work on each tiny tile.If the clich about pictures being made in the cutting room is false, that other clich , It ll play better when we add the music, is true Almost every picture is improved by a good musical score.Life has a cruel way of balancing pleasure and pain To make for the joy of seeing Sophia Loren every morning, God punishes the director with the mix.I know that all over the world there are young people borrowing from relatives and saving their allowances to buy their first cameras and put together their first student movies, some of them dreaming of becoming famous and making a fortune But a few are dreaming of finding out what matters to them, of saying to themselves and to anyone who will listen, I care A few of them want to make good movies.Have you read Sidney Lumet s Making Movies Have you seen movies directed by Sidney Lumet Which one is your favourite


  8. says:

    Sidney Lumet, who died in 2011, has no less than four film masterpieces 12 Angry Men, Serpico, Dog Day Afternoon, and Network Serpico and Dog Day Afternoon, are two of my favorite New York films of all time others include The French Connection, The Marathon Man, Day Of The Condor, Taxi Driver, Manhattan, Goodfellas There are several other exceptional films also directed by Sidney Lumet Prince Of The City, The Verdict, The Hill, and Before The Devil Knows You re Dead Woody Allen also mentioned The Hill as one of the greatest American films of all time So you know you re dealing with an American film institution and when Lumet writes a book about film making, Making Movies 1996 , you know it is going to have a lot of useful and interesting opinions He draws on his history of film making to explain how and why he does what he does in his films This is a must for any serious film fan.


  9. says:

    Whether it s making movies your interested in, or understanding what happens behind the curtain, Sidney Lumet proves a veritable Oz His macro treatment of how a movie is made, from beginning to end, affords the reader a privileged perspective and practical map for approaching the film making process For a book that is only just over 200 pages, there is a tome s worth of wisdom, perspective, and knowledge buried inside Lumet s terse prose I m just beginning to toy with the idea of making a short film I m a professional photographer by trade, but have always been primarily interested in film I can t imagine a better book to start one off on the right foot I m very appreciative of Mr Lumet s generosity in sharing this wisdom, my film will be all the better for it What I have found particularly valuable is the way he approaches film making from a trouble shooting perspective Lumet s all about working the kinks out well before you even think about picking up your camera For instance, the importance of rehearsing the script very thoroughly Shooting in sequence is rarely a luxury afforded a director, making it of paramount importance that the actors are well aware of the various stages of development their characters go through What if your were shooting the final scene on the first day due to practical concerns regarding location You ll need their performance to reach the appropriate emotional level, to ensure that it will fit with the rest of the film when it s eventually put together.There are many brilliant film making gems shared inside, spliced with a few great anecdotes about Marlon Barando and Al Pacino Thank you Mr Lumet Your generosity is greatly appreciated.Lucas Tingle


  10. says:

    The perfect instruction book, either for fans or the career minded Imagine having a long conversation with a legendary director, where you get to ask him all the things you want to know what s the shooting process like, how do you rehearse actors, what s the relationship between you and cinematographer, or you and the editor, how do you deal with unions, and while you re at it, what in the world is color timing This book is all that, told in the plainest, most direct, most cut the crap manner imaginable It is, possibly, the quickest and most educational book ever written on its subject The day or two is takes to read it will fill your head with all kinds of fundamentals of film craft I can t recommend it highly enough.