Live Cinema and Its Techniques
Page 17
San Francisco News Letter, 82–83
Sarnoff, David, 20
satellites, 27, 62, 112
Saturday Night Live (SNL), 28–29
scenery (sets), 1, 6, 10–11, 14, 15, 17, 32, 46, 48–62, 56, 57, 76, 81–87, 98, 107, 128, 129, 135, 137, 138, 139, 155, 162, 163
scenes, 9–10, 11, 34–35, 45, 54, 93–95, 102, 130, 162
scenic design, 11, 32, 55–59, 56, 86–87, 98, 107, 163
Schiller, Friedrich, 113
Schrader, Paul, 78–79
Schroeder, Barbet, 14–15
Schwartzman, Jason, 104
Scorsese, Martin, 113
scrims, 51–52
scripts (screenplays), 3, 5–6, 33–36, 42, 46–47, 59, 71, 72, 75, 98, 99, 115, 117–18, 127–28, 136
script supervisors, 99
second units, 61–62, 163
self-confidence, 35–36
sentences, 7–8, 9, 91
Sentinel Building, 71
seppuku (ritual suicide), 116
Serling, Rod, 2, 24
set lamps (practicals), 52, 162
sets (scenery), 1, 6, 10–11, 14, 15, 17, 32, 46, 48–62, 56, 57, 76, 81–87, 98, 107, 128, 129, 135, 137, 138, 139, 155, 162, 163
setups (camera placement), 29, 86, 99, 130, 131, 139–40, 159
shadows, 55, 159
Shakespeare, William, 23, 55
Shape of Things to Come, The, 63–68, 65
Shire, Talia, 38, 84
shots:
action, 88–91
as basic units, 7–9, 10, 87
as “bricks” or “building blocks,” 8–9, 156
cause-and-effect in, 88
cinematic, 2–3, 13–14, 102
close-up (CU), 10, 14, 15, 21, 32, 52–53, 60, 88–89, 133, 146–47, 153–54, 161
composition of, 8–9, 13–14, 86, 88–91, 98, 134
concept of, 7–8
continuity of, 85, 135–36
coverage for, 10, 11, 12–13, 15, 48, 60, 91, 133, 156, 160
creation and selection of, 11, 50–53, 60–62, 130, 131, 132, 159
dissolves in, 144
dolly, 110–11, 148–49, 150, 160
dynamic, 89
editing of, see editing
establishing, 52–53, 133
exterior, 159
fades in, 149, 151
focus of, 15
footage quality of, 160
frame size of, 160
framing of, 155, 160
helicopter, 64, 73
insert, 140, 151
juxtaposition of (montage), 7, 9, 21, 87–91, 162
in Live Cinema, 10, 11, 14, 50–53, 60–62, 87–91, 133
location, 61–62
long, 10, 161
master, 14–15, 53, 60, 150, 161
medium, 10, 89
middle, 161
moving, 160
one, 85
optimal, 99
over-shoulder, 133
panning, 111, 156
perspective in, 15
pre-designed (pre-shoot), 12, 15, 49, 60, 62, 87, 99
pre-visualization of (shot-by-shot), 51, 133, 134, 155, 162
profile, 99
progressive, 88
reverse angle, 14, 60, 99
scenery in, 57
sequences of, 7, 162
side angle, 99
single continuous, 29, 85
staged, 49–50
Steadicam, 85, 110–11, 163
storyboards used in, 49, 163
succession of, 11
superimposition of, 88
television, 2–3, 11, 48
tracking, 8, 110–11, 160
transitional, 93–94
two-, 15
“weird angle,” 32
wide, 88
wipes in, 153
as “words,” 7–8, 9, 91
shutters, 161
side angle shots, 99
Signal Corps, U.S., 23
signal lights, 92
silent films, xi, 7, 21, 31, 87–88, 112–13
Sills, Paul, 35
“Silverfish, The,” 66–68, 122, 123, 124, 126, 128, 131, 135–36, 138, 140, 141, 142, 143, 152
silver halides, xii
Singin’ in the Rain, 114
16mm film, 2, 21, 106–7
16mm projectors, 2
60i (59.94 interlaced fields per second), 43, 44
Smith College, 109
snoots (light attachments), 52, 163
soap operas, 12, 52–53
software code, 46
soliloquies, 83
Song of Bernadette, The, 61
SONOS sound system, 154
Sony, 44, 107, 108
Sony Professional cameras, 107
Sony PXW-FS5 digital cameras, 44
Sony PXW-FS7 digital cameras, 44
Sopranos, The, 26, 28
sound:
audio inputs for, 62
collections of, 99, 102
cues for, 137, 138, 141, 142
design of, 99, 137, 160
editing of, 47, 70n, 99, 137, 141, 148, 160, 163–64
effects in, 76, 99, 160
equalization of, 45–46
Foley, 99, 160
in Live Cinema, 47, 50, 126, 134, 136–37, 148, 154
loops in, 137, 141, 148
microphones for, 21, 136–37, 138
mixing boards for, 45–46, 99, 138, 139
playback (PB) in, 141, 143, 145
recording of, 21, 99, 136–37, 138, 141, 143, 145
stages for, 61–62
synchronized, 47, 99, 163–64
transmission of, 18
“Sound Ball” theater game, 40–41
sound films (“talkies”), xi, 1, 21, 31–32, 47, 113
sound rooms, 134
soundstages, 61–62
soundtracks, 47, 70–76, 130, 132, 137, 138, 144, 145, 146, 147, 148
special effects, 76, 86, 160, 162
Spielberg, Steven, 107
Spolin, Viola, 35, 40–41
sponsors, commercial, 20
sports, 9, 16, 17, 26, 43, 49, 50, 53, 84, 85, 94, 98, 107, 156
stagecraft, 60–61
stagehands, 55
stage managers, 92, 124, 138, 156
staging, 34–35, 42, 60–62, 82–84, 131, 145, 155
standing sets, 48
stand-ins, 155
Stanislavski, Konstantin, 55
Stanton, Harry Dean, 79
Star Wars, 54
stationary cameras, 54
stationary scenes, 54
Steadicam, 85, 110–11, 163
Steele, Tommy, 62
still photography, xii, 108–10
Storaro, Vittorio, 8, 9, 70n, 111
storyboards, 11, 12, 46, 49, 163
“story mode,” 45
storytelling, 10, 11, 21, 26, 78–80
Strauss, Richard, 29–30
Streetcar Named Desire, A (Williams), 30
Strindberg, August, 113
studios, film, 61, 73, 75, 112n
stumble-throughs, 34, 92–97
stunts, 6, 95–97, 99
subtitles, 6, 99
synchronization, 47, 99, 163–64
tablets, 112
“talkies” (sound films), xi, 1, 21, 31–32, 47, 113
tally lights, 93, 163
tape recorders, 1, 2, 21
Tarantino, Quentin, 107
Tavoularis, Dean, 76
Taxi Driver, 28
technical directors (TDs), 95, 101–2, 124, 130, 138, 144, 145–47, 152–53, 163–64
technology:
broadcast, 1–2, 25, 106–7
camera, 14–15, 21, 43, 44, 60, 107, 160
computer, 44, 46, 112, 157
cost of, 106
digital, 26, 107
electronic, 18–20, 22
film, 113–14
rehearsals for, 95, 99
specifications for, 43–47, 133, 134, 135
television,
xii, 18–20, 25–26, 106–7
“Telegraphic Photography and Electric Vision” (Bidwell), 18–19
telephones, 18
telephoto lenses, 12–13, 14, 48, 52, 93, 162, 164
television:
actors in, 23, 24
audiences for, 105
broadcasts of, 1–2, 25, 106–7
budgets of, 64
cable, 28
cameras for, 43, 75, 93
cathode ray tubes (CRTs) in, 19, 21, 159
cinema compared with, 2–3, 12, 23, 24–28, 78, 112
comedy series on, 28–29
commercials on, 20
cultural impact of, 20, 106, 116–17, 131, 143
development of, 1–2
digital, 26, 160
as “distant electric vision,” 18–20, 22
dramatic series on, 26, 28
editing for, 21, 22
electric and electronic, 18–20, 22
emotional impact of, 24–25
events in, 9, 10, 86, 107, 156
executives in, 52–53
films shown on, 12, 112
first golden age of, 23–25
flat screen, 55
Golden Age of, 2–3, 23–25, 27–28, 75, 93
history of, 18–32
instant replay servers in, 6, 26
invention of, xii, 18–20
lenses used in, 48
lighting grids (overhead lighting) in, 12–13, 48, 52, 53, 101, 132, 133
literary adaptations for, 23–24
live, xii, xiii, 2–3, 11, 21, 24–25, 26, 62–66, 78–80, 85, 93, 133, 161, 162
Live Cinema compared with, xii–xiii, 3, 10–11, 24, 28, 85–86, 118, 156
mechanical, 18, 20
name of (Tele-Vision), 20
networks for, 2, 21, 25
news programs on, 26, 28, 85
patents for, 19, 22
picture quality for, 22
plays on, xiii, 2–3, 9, 10, 23–25, 26, 48, 113
production for, 106–7
programming of, 1–3, 20
props for, 11–12
recording of, 21, 22, 25, 106–7, 161
screen boxes in, 85
second golden age of, 27–28
sets for, 1, 10
shots used in, 2–3, 11, 48
sports programs on, 9, 16, 17, 26, 43, 49, 50, 53, 84, 85, 94, 98, 107, 156
storytelling in, 26, 78–80
studios for, 106–7
style of, 2–3, 9, 12–15, 20, 24–25, 85
switchers in, 45–46
technology of, xii, 18–20, 25–26, 106–7
time shifting in, 21, 49
tenements, 59
Terry, Ellen, 55
test patterns, 1–2
Tetro, 39–40
textured sets, 86
t-handles, 163–64
theater:
actors in, 3, 5–6, 10, 34
audiences for, 9–10, 30–31
casting in, 34
cinema compared with, 31–32, 83, 84
design in, 76, 80
games for, xii, 34, 35, 36, 40–41, 128, 129, 142
Greek, 83, 136
history of, 31–32
lighting in, 55, 59, 81–82, 159
Live Cinema compared with, 34, 42, 76, 80, 86, 118, 139, 156
meta-, 139
music cues in, 92
in New York (Broadway), 23, 24, 30–31
performances in, 86
plays in, xiii, 2–3, 9, 10, 23–25, 26, 48, 113
production of, 34, 42, 76, 80
realism in, 81–84
rehearsals in, 34, 42, 55
repertory, 5–6
scenes in, 9–10, 11
sets (scenery) in, 46, 48, 55–59, 56, 81–82, 83, 85, 86–87, 98
staging in, 82–84
television compared with, xiii, 2–3, 9, 10, 23–25, 26, 48, 78
ticket prices for, 30–31
touring in, 23, 82–83
in U.S., 82–84, 117
Theater Games for Rehearsal (Spolin), 35, 40–41
Theatre of Tomorrow, The (Macgowan), 32
theatrical exhibitions, 29, 111–12, 138, 156–57
theremins, 114
Thief of Baghdad, The, 73
30p (standard TV frame rate), 93
35mm film, 109–10, 111, 112
This Property Is Condemned, 23n
three-act structure, 41, 92
3–D films, 51, 109–10
tilting, camera, 111, 149–50
Time, 69
time manipulation, 17, 49, 132, 139
time shifting, 21, 49
time signatures, 47
Toscanini, Arturo, 1, 148
Toshiba, 25
tracking shots, 8, 110–11, 160
Translight screens, 54, 55, 61
Traviata, La (Verdi), 29, 30, 111
triangulating, 54
tripods, 161
Tristan und Isolde (Wagner), 30
Turner, Ted, 26
Turn of the Screw, The, 25
12 Angry Men, 10, 87
20th Century Fox, 61–62
24p (23.98 progressive frames per second), 43–44
two-color photography, 108
two-reel films, 22
UCLA School of Theater, Film and Television workshop, xiii, 3, 14, 15–17, 33–42, 46, 50, 54–62, 69, 85, 93, 95–97, 98, 99, 102, 103, 115, 118, 119, 121, 174–89
UFA GmbH, 21–22
ultraviolet (UV) light, 101
uniform lighting, 12–13
University of California at Los Angeles (UCLA), 75
vacuum-formed sets, 86
vacuum tubes, 159
Verdi, Giuseppe, 29, 30, 111, 113
Victoria, 29
Vidal, Gore, 24
video:
cameras for, 106–7, 110
editing of, 21
effects in, 79–80
mixing boards for, 45–46, 163–64
multiple sources of, 161
recorders (playback), xii, 2, 6, 21, 22, 25, 26, 75–76, 106–7, 161
streaming, 44–47, 95–99, 135–36
switchers for, 6, 26, 44–47, 49, 60, 94, 95–99, 103, 133, 135–36, 141, 143, 150, 156, 160, 164
videotape, xii, 2, 106–7
Vietnam War, 77, 115, 116
viewfinders, 75, 129
virtual reality, xii
Vishnevetsky, Ignatiy, 79–80
visualization, 51
Vitaphone, 1
voiceovers, 134
von Trier, Lars, 52
Wagner, Richard, 29–30, 68, 113
Waits, Tom, 74
Walküre, Die (Wagner), 68
walls, 60
Wanamaker’s department store, 23
wardrobe, 35, 41, 94, 132, 134, 137, 160
Warner Bros., 62
Way of Chinese Painting, The, 15
weather conditions, 64–65, 163
“weird angle” shots, 32
Weiss, Craig, 155
Westerns, 2, 71
West Side Story, 30
Williams, Tennessee, 30
Willis, Gordon, 8–9
windows, 13, 57
Wine Spectator, 122
wipes, 153
Wire, The, 28
wire recorders, 1
Wisconsin State Capitol, 63–68
word processing, 47
words, 7–8, 9, 47, 91
workshops, see Oklahoma City Community College (OCCC) workshop; UCLA School of Theater, Film and Television workshop
World War II, 23
writing, 7–8, 47
Wyler, William, 110
Xerox PARC, 74
Xerox Star computers, 73–74
Yale School of Drama, 23, 31
Yeats, William Butler, 55–57
Young and the Restless, The, 53
YouTube Music Awards, 104
Zegel, Barry, 107
Zoetrope Studios, 66, 71–73, 76, 80, 189
z
oom lenses, 12–13, 14, 48, 52, 93, 162, 164
Zworykin, Vladimir, 19, 22
ALSO BY FRANCIS FORD COPPOLA
The Godfather Notebook
ABOUT THE AUTHOR
Francis Ford Coppola is best known as the six-time Academy Award–winning director of such films as the Godfather trilogy and Apocalypse Now. Born in Detroit in 1939, Coppola grew up in Queens, New York. Paralyzed by polio as a child, he wrote stories and developed an interest in film after being given a toy movie projector.
A prolific theater and film student at Hofstra College and UCLA, he wrote short stories and plays (considering himself first and foremost a writer), and throughout his career has endeavored to write and direct original work. He made his mark as the Oscar-winning screenwriter of Patton in 1970, and followed it up in the rest of the ’70s by writing, directing, and/or producing The Godfather, The Godfather Part II, American Graffiti, The Conversation, and Apocalypse Now, resulting in two Cannes Palme d’Or Awards, twelve Academy Award nominations, and five Academy Awards, making the period arguably the most successful decade any filmmaker has ever had.
Francis has also been producing wine for over thirty-five years at his Napa Valley and Sonoma Valley wineries. His other business interests include luxury resorts in Central America, Argentina, and Italy, and an award-winning short story magazine, Zoetrope: All-Story. Francis’s current passion is a new form of art he calls Live Cinema, being a combination of theater, film, and television. He is presently working on a cycle of screenplays he hopes to produce in this new medium.
Copyright © 2017 by Giostyle LLC
All rights reserved
First Edition
Photograph on page 82 courtesy of Byron Company, New York, NY / Museum of the City of New York. 54.380.102.
For information about permission to reproduce selections from this book, write to
Permissions, Liveright Publishing Corporation, a division of
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
For information about special discounts for bulk purchases, please contact
W. W. Norton Special Sales at specialsales@wwnorton.com or 800-233-4830
Book design by JAMdesign
Production manager: Julia Druskin
Jacket design by Brian Barth
ISBN 978-1-63149-366-9
ISBN 978-1-63149-373-7 (e-book)
Liveright Publishing Corporation
500 Fifth Avenue, New York, N.Y. 10110
www.wwnorton.com
W. W. Norton & Company Ltd.
15 Carlisle Street, London W1D 3BS