· Incorporating a detailed approach to production design
· Innovative, atmospheric lighting
· Slow pacing until the action sequences, which are characterized by frequent, rapid edits. Examples include Alien and Blade Runner;
· use of sound or music to build tension, as heard in Alien, with hissing steam, beeping computers and the noise of the machinery in the space ship.
· Scott has developed a method for filming intricate shots as swiftly as possible:"I like working, always, with a minimum of three cameras. [...] So those 50 set-ups [a day] might only be 25 set-ups except I'm covering in the set-up. So you're finished. I mean, if you take a little bit more time to prep on three cameras, or if it's a big stunt, eleven cameras, and — whilst it may take 45 minutes to set up — then when you're ready you say 'Action!', and you do three takes, two takes and is everybody happy? You say, 'Yeah, that's it.' So you move on."
· Strong female characters.
· Some of his movies feature strong conflicts between father and son that usually end with the latter killing the former (Blade Runner, Gladiator) or witnessing the event (Kingdom of Heaven). The Lord of Darkness in Legend also mentions his "father" on a few occasions. As part of the conflict between father and son there are some repetitive scenes: in Gladiator, the son hugs the father seemingly as an expression of love but this embrace turns into the suffocation and death of the father. There is a similar sequence in Blade Runner.
· Scott utilizes cityscapes as an emphasis to his storytelling (i.e., a futuristic Los Angeles in Blade Runner, Tokyo in Black Rain, Jerusalem in Kingdom of Heaven).
· In Gladiator, Blade Runner and Kingdom of Heaven, a son gets to know his father when he is grown up. Other common elements are that the mother is not seen, and that the son or father is seen performing his last actions. For example, Roy Batty is dying when he saves Deckard, Maximus dies after killing Commodus and Godfrey of Ibelin kills some enemies after he has been mortally wounded by an arrow. In addition, the hero is saved from death before attaining his greatest deeds: Deckard is saved by Rachel, Maximus is saved by a slave and Balian is saved by a Muslim enemy. Similar situations can be seen in Tony Scott's Man on Fire.
· Military and officer classes as characters reflecting his father's career, such as in G.I. Jane and Black Hawk Down and Kingdom of Heaven.
· Storyboarding his films extensively. These illustrations, when made by himself, have been referred to as "Ridleygrams" in DVD releases.
· Like Stanley Kubrick, Scott was once known for requesting a great many takes. This was evident on Blade Runner: the crew nicknamed the movie "Blood Runner" because of this.
· He often makes use of classical music (the Hovis advertisements, Someone to Watch Over Me).
· Extensive use of smoke and other atmospheres (in Alien, Blade Runner and Black Rain), plus fans and fan-like objects (Blade Runner,Black Rain and the large Boeing jet engines in the 1984 TV advertisement). Fans are also used in Hannibal, for symbolic purposes.
· Consistency in his choice of composers, using Jerry Goldsmith (Alien and Legend), Vangelis (Blade Runner and 1492: Conquest of Paradise) or Hans Zimmer (Black Rain, Thelma & Louise, Gladiator, Hannibal, Black Hawk Down and Matchstick Men). Scott has also twice used songs by Sting during the film credits ("Valparaiso" for White Squall and "Someone to Watch Over Me" for the movie of the same title).
http://en.wikipedia.org/wiki/Ridley_Scott
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· To be a good filmmaking Pragmatic view is essential.
· The danger of technology is it takes drama and fear out of the situation you should be careful how you want to use it. Human drama, human expectation and human behavior can be a best guide line.
· بعد از نوشتن فیلمنامه ، کل آن را به صورت رادیو دراما ضبط کن، همراه با صدا های آمبیانس و افکت ها ، به آن گوش بده و با بستن چشمانت تصاویر را در ذهنت بازسازی کن، فراز ها و نشیب ها و پیست، دایلوگ... را در فیلمت بسنج.
· Make your Script like BBC radio drama and then hear it and imagine it in your mind.
· How we can get intimacy? Reality can guide the story
· I use at least two cameras but take care of the lighting.
How we can get intimacy? Reality can guide the story
I use at least two cameras but take care of the lighting.
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