Filmmaking
View allAll Photos Tagged Filmmaking
(Wong Kar-wai; Hong Kong film director)
You will have seen some of his films: "Chungking Express", "In the Mood for Love", "My Blueberry Nights" etc
***
(Photograph of the bronze film awards statue on the Avenue of Stars, in Hong Kong .)
The Hong Kong Film Awards, which have been held annually since 1982, pay tribute to filmmaking professionals who have made significant contributions to Hong Kong’s film industry.
Our group got combined with a film crew from Western Michigan. Here, guide Ricky Hayes explains how this petroglyph showed solstices and equinoxes.
Though I've done a fair amount of similar filming, this team had a lot more experience than mine. It was interesting to watch and learn.
British postcard by London Cardguide LTD, London. Photo: Ewa Rudling.
Andy Warhol (1928-1987) was the 'Father of Pop Art' with his silk-screened pictures of Campbell's Soup cans and distorted images of Marilyn Monroe. He started directing films and most of his early work simply consisted of pointing the camera at something (a man asleep, the Empire State Building) and leaving it running, sometimes for hours. His films gradually grew more sophisticated, with scripts and soundtracks. They were generally performed by members of the Warhol "factory". In 1968, after a near-fatal shooting by an unstable fan, Warhol retired from direct involvement in filmmaking, and under former assistant Paul Morrissey, the Warhol films became increasingly commercial. Warhol spent the 1970s and 1980s as a major pop culture figure, constantly attending parties and providing patronage to younger artists.
Andy Warhol was born Andrew Warhola in 1928 in Pittsburgh, USA. His parents were Ondrej (Andrew) Varhola and Julia Zavackyová Varholová, ethnic Lemko immigrants from the village of Miková in the Austria-Hungary Empire (now Slovakia). Ondrej, whose surname was originally written as Varhola, changed the spelling to Warhola when he emigrated to the US. He worked as a construction worker and later as a coal miner. His father, who travelled much on business trips, died when Warhol was 13. During his teenage years, Andy suffered from several nervous breakdowns. He showed artistic talent early on and went to study applied art in Pittsburgh at the Carnegie Institute of Technology, now Carnegie Mellon University. There, he stood out by drawing two self-portraits showing him picking his nose (Upper Torso Boy Picking Nose and Full Figure Boy Picking Nose). In 1949, Andy graduated and dropped the letter 'a' from his last name. Warhol moved to New York, where he met Tina Fredericks, the art editor of Glamour Magazine. Warhol's early jobs were doing drawings for Glamour, such as the Success is a Job in New York and women's shoes. He also drew advertising for various magazines, including Vogue, and Harper's Bazaar, book jackets, and holiday greeting cards. In 1952, his first solo exhibition was held at the Hugo Gallery in New York, of drawings to illustrate stories by Truman Capote. He started illustrating books, beginning with Amy Vanderbilt's Complete Book of Etiquette. In 1956, he was included in his first group exhibition, Recent Drawings USA, held at the Museum of Modern Art, New York. By 1959, he was a successful advertising designer with an average annual income of $65000 and almost annual medals and other professional awards. In 1960, Warhol began to make his first paintings. They were based on comic strips in the likes of Dick Tracy, Popeye, and Superman. In the following years, Warhol started painting famous American products like Campbell's soup cans and Coca-Cola bottles in large formats. He managed to interest the influential gallery owner and art collector Leo Castelli in his work. He started using the silk-screen technique, not merely to create art using everyday commercial mass-produced items as his motif but to create even his own art as mass-produced items. Warhol preferred to become an emotionless machine. He set himself up as chief of a team of art workers who were engaged in making screen prints, films, books and magazines. This team operated in a studio near Union Square in New York. The studio was called the Factory because it actually housed a production line of paintings. The original Factory was located in an old cap factory at 231 East 47th street (fourth floor). This studio grew into a meeting place for artists, gays, transvestites, junkies and photographic models. Anyone with any artistic pretensions was welcome there.
After a few years, Andy Warhol moved his entourage to an office building across the street; 33 Union street West (sixth floor). This second Factory was called the Office by Warhol himself because it housed not only a studio but also the editorial office of Interview magazine, founded by Warhol. Warhol became known worldwide during the Factory years with his screen prints. He made screen prints of any subject that lent itself to it. Warhol's oeuvre largely draws on American popular culture. He painted and drew banknotes, cartoon images, food, women's shoes, celebrities and everyday objects. For him, these motifs represented American cultural values. Paul Morrisey managed to persuade Warhol to become the manager of a rock band. It would be a commercial success if Warhol combined his talent for generating media attention with a sensational rock group. Warhol was not immediately enthusiastic but after Morrisey's insistence, he relented. Morrisey had seen the Velvet Underground perform at cafe bizarre. After Warhol went to see, he was immediately excited. He saw a group standing with good looks who, while tourists sat drinking, sang about Heroine and SM. Warhol made the Velvet Underground part of his multimedia show Exploding Plastic Inevatible. He also produced The Velvet Underground's first album with Nico. He essentially lent his name to their work and observed them in the recording studio, while Lou Reed and later Tom Wilson mostly called the shots. The cover of the band's first album was Warhol's design: a banana with a peel that was actually a peelable sticker. On 3 June 1968, Valerie Solanas, a radical feminist author who hung around the Factory from time to time, turned up at the studio and shot Warhol and art critic Mario Amaya. Solanas had been rejected earlier that day at the Factory after she had requested the return of a script she had given Warhol for inspection. The script had apparently gone missing. Warhol was badly injured in the shooting and was even declared clinically dead in the hospital. He suffered the physical effects of the attack for the rest of his life and had to wear a corset to support his lower abdomen. The shooting had a major after-effect on Warhol's life and his art. The Factory became more tightly shielded and for many, this event marked the end of the Factory's wild years. That same day, Solanas turned herself in to the police and was arrested. Her explanation for this crime was that Warhol had become too much of an influence on her life. his incident is the subject of the film, I Shot Andy Warhol (Mary Harron, 1996).
Between 1963 and 1968, Andy Warhol was a prolific filmmaker. He made more than one hundred and sixty films, 60 of which are accessible. The films share similarities with his paintings, which also feature many repetitions and subtle variations of images. In the 1970s, Warhol banned the distribution of his films, but in the 1980s, after much insistence, he gave permission to restore the films. In many of his films, the usual projection speed was reduced from 24 frames to 16 frames per second. This is slightly different from usual slow-motion, where the film is actually shot at a higher speed and played back at normal speed. Warhol's technique gives the individual images more emphasis. One of his most famous films, and also his first, Sleep (1963), shows for eight hours a sleeping man, John Giorno, with whom he had a relationship. Warhol filmed for about three hours each time until the sun rose at five in the morning. Filming took a month. The film Kiss (1963) shows close-ups of kissing couples for 55 minutes. Blow Job (1963) is a continuous close-up of the face of a man (DeVeren Bookwalter) being orally satisfied off-screen. According to Warhol's later assistant, Gerard Malanga, the invisible role featured poet and filmmaker Willard Maas, although Warhol gave a different reading on this in his memoir 'Popism'. Warhol met Malanga in 1964, and they made Tarzan and Jane Regained... Sort of (1964). That year, Warhol also made a 99-minute portrait of the Metropolitan Museum of Art's famous curator Henry Geldzahler. During the filming, Warhol simply walked away. The film clearly shows how Geldzahler was bored and uncomfortable by the camera. By the end of the film, he collapsed completely. Also from 1964 is the film Eat, featuring Warhol's colleague and friend Robert Indiana, who is eating a mushroom very sedately and in a close-up. Another film, Empire (1964), consists of an eight-hour shot of the Empire State Building in New York at dusk. Warhol's role-playing film Vinyl is an adaptation of the dystopian Anthony Burgess novel 'A Clockwork Orange'. Further films depict impromptu encounters with Factory hustlers such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico and Jackie Curtis. In the film Camp, legendary artist Jack Smith appears within the subculture. Many famous visitors to the Factory were put in front of the camera between 1963 and 1966, and filmed for 2 minutes and 45 seconds, the length of the standard roll of film. Usually, these were static portraits. By running the films more slowly, the expressions of the faces are greatly magnified. These shots resulted in about 500 films, called Screentests by Warhol. Among those portrayed are film star Dennis Hopper and pop star Lou Reed. The films were edited in various compositions and shown at Warhol exhibitions and in movie houses. Warhol's unorthodox approach is exemplified by Kitchen (1965). The actors do not know their roles by heart, but the screenplay is hidden in various places on the set. The scriptwriter whispers lines of dialogue from outside the frame. Snapshots are taken during filming. The set designer appears on the screen. Dialogue is drowned out by the sound of a mixer. There are long periods when nothing happens. There are two pairs of characters with the same names. Warhol was not interested in auctorial control but shifted the burden from the director to the actors and the shooting crew. He showed little interest in story intrigue, which he considered old-fashioned, or technical aspects of filmmaking. Warhol wanted to explore the borders between feigned action and the more authentic behaviour of non-actors, which is why he kept the camera running constantly: he didn't want to miss anything. In the summer of 1965, Andy Warhol met Paul Morrissey, who became his advisor and collaborator. Warhol's most successful film was Chelsea Girls (1966). The film was innovative as it consisted of two simultaneously projected 16-mm rolls of film with divergent narratives. From the projection booth, the sound level for one film was raised to clarify that story while it was lowered for the other, after which the reels were reversed. Chelsea Girls became the first underground film to be shown at a commercial theatre. Warhol also used this method of doubling the image in his screen prints of the early 1960s. The influence of film with multiple simultaneous layers and stories is noticeable in modern productions like Mike Figgis's Timecode and, indirectly, the first seasons of 24. Other important films include My Hustler (1965) and Lonesome Cowboys (1968), a homoerotic pseudo-Western. Blue Movie, a film in which Warhol's 'superstar' Viva has sex with a man for 33 minutes, was Warhol's last film of his own. After the film caused a scandal because of its liberal approach to sexuality, Viva managed to block its public screening for a long time. The film was not shown again in New York until 2005, for the first time in 30 years.
Compared to Andy Warhol's provocative work in the 1960s, the 1970s were artistically less productive, although Warhol became much more businesslike. He retired as a film director and left filmmaking to Paul Morrissey. The latter steered the approach to Warhol films more and more in the direction of ordinary B-movies with a clear narrative, for example, Flesh, Trash and Heat. These films, as well as the later films Blood for Dracula and Flesh for Frankenstein, were much more normal than anything Warhol had ever made himself as a director. The star of these films was Joe Dallesandro, who was actually a Morrissey star rather than a true Andy Warhol superstar. Another film that caused a lot of furore as a Warhol film was Bad. starring Carroll Baker and Perry King. This film was actually directed by Jed Johnson. To increase the success of the later films, all of Warhol's earlier avant-garde films were withdrawn from circulation around 1972. Warhol founded Interview magazine in 1969. He resumed painting in 1972, although it was primarily celebrity portraits. According to his assistant during his later years, Bob Colacello, Warhol mainly sought out wealthy people from whom he could secure portrait commissions, such as Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot and Michael Jackson, as well as lesser-known bank executives and collectors. In 1975 published his book 'The Philosophy of Andy Warhol', in which he explained his down-to-earth ideas about art and life. Incidentally, he appeared in films and TV shows. When guesting on The Love Boat (1977), he was nervous about the experience and turned to his castmate Marion Ross, who calmed him down and offered some advice on how to act. In 1976, Warhol began a daily routine. Every morning at 9 am, he would call Pat Hackett, whom he had hired to keep track of his expenses. What was initially supposed to be just a morning bookkeeping session soon turned into an extremely intimate exchange of private experiences between the two of them. Warhol, who was "addicted to the phone anyway", told Hackett about the rather delicate details of the New York scene and celebrities, a subject that had interested him since childhood. Like his time capsules, the conversations were for capturing a picture of the times. After his death, Hackett released some of these notes in the book 'The Andy Warhol Diaries'. In 2022, this book was made into a Netflix documentary. Andy Warhol worked for several years with Jean-Michel Basquiat a young artist in whom he recognised much of himself. The collaboration was equal, Warhol was past his prime and Basquiat had already established his name. This equality allowed them to collaborate on some 140 works, some of which were exhibited in a duo exhibition at the New York gallery Tony Shafrazi in 1985. The ensuing New York Times review made Basquiat Warhol's mascot after which their collaboration and also their friendship cooled. Warhol died in 1987 at the age of 58 in New York. He was recovering from a routine operation on his gallbladder when he died of cardiac arrest in his sleep. Hospital staff had administered sleeping pills to him after the operation and had not sufficiently monitored his well-being. Consequently, lawyers for Warhol's next of kin sued the hospital for negligence. Warhol constantly delayed medical treatment because he was afraid of hospitals and disliked doctors. Warhol was buried at St John the Baptist Byzantine Catholic Cemetery in Bethel Park, south of Pittsburgh. Yoko Ono was among those who gave a farewell address at his funeral. International auction house Sotheby's took nine days to auction off Warhol's immense collection of art and 'knickknacks'. The gross proceeds of this auction were about US$20 million. In 1990, Lou Reed and John Cale made a CD album called 'Songs for Drella' as a tribute to Warhol with 15 songs about Warhol's life.
Sources: Herman Hou (IMDb), Michael Brooke (IMDb), Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Ariana Trevino in “Stranger in the Camera”
A proper photo by the right camera might bring out some of your most hidden secrets.
-
Model:
Ariana Trevino
www.instagram.com/arianatrevino757
-
Disclaimers:
** Warning ** These are shots used for giving starting actors and models a look to get roles in many genres.
** Disclaimer ** No Children ( Or Parents ) were harmed in this photoshoot, all prop use, Outfits, and poses was done with strict parental supervision.
-
#horror #scream #skullart #fashion #style
#retro #orlando #vintagestyle #wedding #weddingdress
#vintageclothing #haunted #photooftheday #murder
#casting #thriller #movie #actor #crime
#casting #actor #actorslife #actress #model
#movie #film #filmmaking #cinematography #star
#orlando #tampa
#childactor #child #kids
-
-
Drivers Photography
Our focus is actors.
Are you tired of having no tools to show your character ?
At Drivers Photography, our goal create Character looks for Actors.
These Characters are then brought to life thru Headshots and Actor Demo Reels
Directors and filmmakers are NOT there to cast “industry standard” headshots, they want characters that FIT the character in their scripts.
This is Simple and Easy. The book "Think and Grow Rich"; says the route to success is to find a need and fill it.
Casting and filmmakers are looking for “Characters”. Let's give them what they are looking for.
In things kids casting there is nothing better to help with that than Actor Demo Reels.
Many Casting Directors are told by film makers to not even look at actors who lack Actor Demo Reels.
Child actors of talent need ways to showcase their skill.
Actor Demo Reels are proven to give child actors a step up when it comes to kids casting.
For most young actors do not have demo reels.
A short clip while filming 'The Astronot' (www.TheAstronot.com) with director Tim Cash of 'Far From Earth Films' in Central Oregon.
The Mulholland Drive director on his favorite films and filmmakers: www.blackbookmag.com/movies/david-lynch-on-his-favorite-f...
French postcard in the Collection Noire by Editions Hazan, Paris, no. 6011, 1988. Photo: Sam Levin. Jean Renoir at the set of La bête humaine/The Human Beast (1938).
Jean Renoir (1894-1979) was one of the major French film directors before WW II. His films La Grande Illusion/The Great Illusion (1937) and La Règle du Jeu/The Rules of the Game (1939) belong to the masterpieces of the French cinema. During the German invasion of France in 1941, he moved to Hollywood where he directed This Land Is Mine (1943), and The Southerner (1945). He later became an American citizen.
Jean Renoir was born in 1894 in Paris, France. He was the son of the famous Impressionist painter Pierre-Auguste Renoir and had a happy childhood. Pierre Renoir was his brother, and Claude Renoir was his nephew. He fought in the French army during World War I and was wounded in battle. His wounds never healed properly and he suffered from it for the rest of his life. He recuperated by watching films with his leg elevated. Later, he was honoured with the Croix de Guerre. After the end of World War I, he moved from scriptwriting to filmmaking. He married his father's last model, Catherine Hessling. Renoir wanted to make a star of her and directed her in Catherine ou Une vie sans Joie/Backbiters (1924). His second feature was the Emile Zola adaptation Nana (1926) starring Hessling, Werner Krauss, and Jean Angelo. The film's extravagances include two magnificent set pieces – a horse race and an open air ball. The film never made a profit, and the commercial failure of the film robbed Renoir of the opportunity to make such an ambitious film again for several years. Renoir gradually sold paintings inherited from his father to finance his films. Renoir and Hessling separated in 1930, although he remained married to her until 1943. His next partner was Marguerite Renoir, whom he never married, although she took his name.
In 1931 Jean Renoir directed his first sound films, the comedy On purge bébé/Baby's Laxative (1931), based upon the play by Georges Feydeau, and La Chienne/The Bitch (1931). with Michel Simon. The following year he made Boudu sauvé des eaux/Boudu Saved from Drowning (1932), a farcical sendup of the pretensions of a middle-class bookseller and his family, who meet with comic, and ultimately disastrous, results when they attempt to reform a vagrant played by Michel Simon. He then directed La Nuit du carrefour/Night at the Crossroads (1932), based on a novel by Georges Simenon and starring Renoir's brother Pierre Renoir as Simenon's popular detective, Inspector Maigret. Partie de campagne/A Day in the Country (1936) was based on a short story by Guy de Maupassant, who was a friend of Renoir's father. It chronicles a love affair over a single summer afternoon in 1860 along the banks of the Seine. Renoir never finished filming due to weather problems, but producer Pierre Braunberger turned the material into a release in 1946, ten years after it was shot. By the middle of the 1930s, Renoir was associated with the Popular Front. Several of his films, such as Le Crime de Monsieur Lange/The Crime of Monsieur Lange (1935) with René Lefèvre, La vie est à nous/Life Belongs to Us (1936) and La Marseillaise (1938), reflect the movement's politics. Erich von Stroheim and Jean Gabin starred in one of his better-known films, the war film La Grande Illusion/The Great Illusion (1937). A film on the theme of brotherhood, relating a series of escape attempts by French POWs during World War I. It won the Best Artistic Ensemble award at the Venice Film Festival and was the first foreign-language film to receive a nomination for the Oscar for Best Picture. He followed it with another success, La Bête Humaine/The Human Beast (1938), a Film Noir based on the novel by Émile Zola and starring Simone Simon and Jean Gabin. With an ensemble cast, Renoir made La Règle du Jeu/The Rules of the Game (1939), a satire on contemporary French society. Renoir played the character Octave, who serves to connect characters from different social strata. The film was his greatest commercial failure. A few weeks after the outbreak of World War II, the film was banned by the government. Renoir was a known pacifist and supporter of the French Communist Party, which made him suspect in the tense weeks before the war began. In July 1939, Renoir went to Rome with Karl Koch and his future second wife Dido Freire to work on the script for a film version of Tosca. He abandoned the project to return to France and make himself available for military service.
Jean Renoir and Dido Freire left France in 1941 during the German invasion and moved to Hollywood. Renoir had difficulty finding projects that suited him. His first American film, Swamp Water (1941), was a drama starring Dana Andrews and Walter Brennan. He co-produced and directed an anti-Nazi film set in France, This Land Is Mine (1943), starring Maureen O'Hara and Charles Laughton. The Southerner (1945) is a film about Texas sharecroppers that is often regarded as his best American film. He was nominated for an Oscar for Directing for this work. Diary of a Chambermaid (1946) is an adaptation of the Octave Mirbeau novel, 'Le Journal d'une femme de chambre', starring Paulette Goddard and Burgess Meredith. His The Woman on the Beach (1947), starring Joan Bennett and Robert Ryan, was heavily reshot and reedited after it fared poorly among preview audiences in California. Both films were poorly received and they were the last films Renoir made in America. At this time, Renoir became a naturalised US citizen. In 1949 Renoir traveled to India to shoot The River (1951), his first colour film. Based on the novel by Rumer Godden, the film is both a meditation on human beings' relationship with nature and a coming of age story of three young girls in colonial India. The film won the International Prize at the Venice Film Festival in 1951.
After returning to work in Europe, Jean Renoir made a trilogy of colour musical comedies on the subjects of theatre, politics, and commerce: Le Carrosse d'or/The Golden Coach (1953) with Anna Magnani, French Cancan (1954) with Jean Gabin and María Félix, and Eléna et les hommes/Elena and Her Men (1956) with Ingrid Bergman and Jean Marais. During the same period, Renoir produced Clifford Odets' play 'The Big Knife' in Paris. He also wrote his own play, 'Orvet', and produced it in Paris featuring Leslie Caron. Renoir made his next films with techniques adapted from live television. Le Déjeuner sur l'herbe/Picnic on the Grass (1959), starring Paul Meurisse and Catherine Rouvel, was filmed on the grounds of Pierre-Auguste Renoir's home in Cagnes-sur-Mer, and Le Testament du docteur Cordelier/The Testament of Doctor Cordelier (1959), starring Jean-Louis Barrault, was made in the streets of Paris and its suburbs. Renoir's penultimate film, Le Caporal épinglé/The Elusive Corporal (1962), with Jean-Pierre Cassel and Claude Brasseur, is set among French POWs during their internment in labour camps by the Nazis during World War II. The film explores the twin human needs for freedom, on the one hand, and emotional and economic security, on the other.
Renoir's loving memoir of his father, 'Renoir, My Father' (1962) describes the profound influence his father had on him and his work. As funds for his film projects were becoming harder to obtain, Renoir continued to write screenplays for income. He published a novel, 'The Notebooks of Captain Georges', in 1966. Captain Georges is the nostalgic account of a wealthy young man's sentimental education and love for a peasant girl. Renoir's last film is Le Petit théâtre de Jean Renoir/The Little Theatre of Jean Renoir (1969). The film is a series of three short films made in a variety of styles. It is, in many ways, one of his most challenging, avant-garde, and unconventional works. Unable to obtain financing for his films and suffering declining health, Renoir spent his last years receiving friends at his home in Beverly Hills and writing novels and his memoirs. Renoir's memoir, 'My Life and My Film's, was published in 1974. In 1975, he received a Lifetime Achievement Oscar, and the government of France elevated him to the rank of commander in the Légion d'honneur. Jean Renoir passed away in 1979 in Beverly Hills, Los Angeles, of a heart attack. Although he was an American citizen, he was buried in France following a state funeral. From 1957 till his death in 1979, he was married to Dido Freire. His son Alain Renoir (1921-2008) became a professor of English and comparative literature at the University of California, Berkeley, and a scholar of medieval English literature.
Sources: Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Holly Raine in "Vampire"
While you sleep it hunts.
** Warning ** These are horror shots used for giving starting actors and models a look to get roles in the horror genre.
** Disclaimer ** No Children were harmed in this photoshoot, all prop use was done with strict parental supervision.
Holly Raine's fan links
Face Book
www.facebook.com/Holly-Raine-115882873113660/
www.instagram.com/raine.holly/
#actors #video #AmericanHorrorStory #movies #Portfolio #vampire #Horror #Casting #Model #movies #Hollywood #Portrait #Photography #filmmaking #Ghost #Haunting #filmmaker #Zombies #style #Headshots #Talent