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The 180 Degree Rule in Film ►► http://bit.ly/180-Degree-Rule-in-Film
The 180 degree line is a rule used in filmmaking that helps you maintain a constant orientation during your scenes. That said, there are ways you can break the 180 degree rule, and ways that you can bend the 180 degree rule.
Our video breaks down how to follow the 180 degree rule, how to break the 180 degree rule, and bend the 180 degree rule to achieve maximum effectiveness from your scene.
Breaking the 180 degree rule can also be called crossing the line or jumping the line. The line you draw connects two actors in a scene, and once you’ve established your camera placement on one side of the line, you have now decided which 180 degrees you will have to place your subsequent camera setups.
You do this so that your viewer can keep their orientation, and avoid spatial confusion.
But what if you break the line?
We show specific examples of directors and films that follow the 180 degree rule, break the 180 degree rule, and bend the 180 degree rule so that you understand perfectly the different effects each has on a viewer.
When you finish this video, you will understand why you need to follow the 180 degree rule in most situations, and know exactly when you should break it or bend it.
The end result: You will understand the 180 degree rule better than you did before - and how to command your visuals.
#180degreefilmrule #jumpingtheline #180degreefilmrule
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There is a huge difference between Ancestry and African Ancestry
#AfricanAmericanGenealogy #genealogyresearch #africanancestry
Terminator 2 Behind the Scenes — A look behind the scenes of James Cameron’s Terminator 2, including how the team utilized cinematic techniques, practical effects, and CGI to create the action film of the century.
The Making of Terminator 2 ►► https://bit.ly/hs-tt
StudioBinder Blog ►► http://bit.ly/sb-bl
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Chapters:
00:00 - Intro — Terminator 2 Behind the Scenes
02:10 - Chapter 1: Lighting and Cinematography
07:34 - Chapter 2: Practical Effects
15:42 - Chapter 3: CGI with ILM
18:05 - Takeaways
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TERMINATOR 2 BEHIND THE SCENES
The making of Terminator 2 is just as fascinating as the film itself. Co-writer/director James Cameron and his crew used every tool available to create the ultimate cinematic experience. In this video, we go behind the scenes of Terminator 2 to uncover the secrets of its creation. We’ll cover topics like how lighting and cinematography, practical effects, and cutting-edge CGI combined to realize Cameron’s greatest action spectacle.
THE MAKING OF TERMINATOR 2 — CINEMATOGRAPHY
Returning from the original, DP Adam Greenberg carried over many aesthetic choices but on an entirely new scale. This includes lighting the terminators in a cold blue light to enhance their brutality and top lighting on Arnold Schwarzenegger to accent his facial musculature. For the iconic highway chase, Greenberg took two weeks to pre-light a 5-mile stretch of freeway, borrowing every available power cord in Hollywood to connect all the lights.
TERMINATOR 2 SPECIAL EFFECTS
Throughout his career, James Cameron has been on the cutting edge of both practical and visual effects. The way he uses models, miniatures, rear projection, and just about every in-camera effect known to man is a testament to his filmmaking prowess. Examples include the animatronics of the T-800 or the nightmarish nuclear blast sequence. And then there are more simple yet effective decisions like hiring twins to play characters replicated by the T-1000. All of this is in service of the story and the experience.
TERMINATOR 2 VISUAL EFFECTS
Of course, not everything could be achieved in-camera. The Terminator 2 visual effects team pushed the craft beyond what anyone had seen before. In his previous film, The Abyss, Cameron tasked the team at ILM to create “the pseudopod” — a tentacle made of water. This was merely a test run for something Cameron had dreamed of since the first Terminator film: a liquid metal terminator. Now, the T-1000 could change shape, walk through bars, and assume the identity of anyone. No one had seen anything like this, which paved the way for future CGI work in films like Jurassic Park.
Filmmakers today might not fully understand why the making of Terminator 2 was such an achievement. But it’s our hope that by looking back on the work of craftsmen and craftswomen like James Cameron that we realize just how far we come and how much we owe to them.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
“Bad To The Bone - George Thorogood & The Destroyers
“Main Title Terminator 2 Theme” - Brad Fiedel
“Quantum IV - Makeup and Vanity Set
“Into The Steel Mill” - Brad Fiedel
“Sarah On The Run” - Brad Fiedel
“Attack On Dyson” - Brad Fiedel
“Trust Me” - Brad Fiedel
“Our Gang Goes To Cyberdyne” - Brad Fiedel
“Escape From The Hospital” - Brad Fiedel
“T1000 Terminated” - Brad Fiedel
“Swat Team Attacks” - Brad Fiedel
“Cameron’s Inferno” - Brad Fiedel
“Hasta La Vista Baby” - Brad Fiedel
“Sarah Dream” - Brad Fiedel
“I’ll Be Back” - Brad Fiedel
“Reese Chased” - Brad Fiedel
“Police Station/Escape From Police Station ” - Brad Fiedel
“Future Flashback/Terminator Infiltration” - Brad Fiedel
“The Terminator Theme (Extended Version)” - Brad Fiedel
“It’s Over” - Brad Fiedel
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African Ancestry Results || Where am I from? || Who am I? || Where in Africa am I from?
The Balanta (Guinea-Bissau Creole and Portuguese: balanta; French: balante; lit. “those who resist” in Mandinka) are an ethnic group found in Guinea-Bissau, Guinea, Senegal and The Gambia. They are the largest ethnic group of Guinea-Bissau, representing more than one-quarter of the population. Despite their numbers, they have remained outside the colonial and postcolonial state because of their social organisation. The Balanta can be divided into 7 clans: Nhacra, Ganja, Naga, Mane, Patch, Sofa and Kentohe. The largest of which are the Balanta Kentohe.
Archaeologists believe that the people who became the Balanta migrated to present-day Guinea-Bissau in small groups between the 10th and 14th centuries CE. Oral tradition amongst the Balanta has it that they migrated westward from the area that is now Egypt, Sudan and Ethiopia to escape drought and wars. During the 19th century, they spread throughout the area that is now Guinea-Bissau and southern Senegal in order to resist the expansion of the Kaabu kingdom. Today, the Balanta are found in the modern-day countries of Senegal and Gambia but mostly reside in the southern and central regions of Guinea-Bissau.
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The Dolly Zoom Effect Explained — a guide to cinema’s most unique and mind-bending camera movement, including how to enhance the Vertigo effect with lighting, camera angle, and sound design.
The Ultimate Guide to the Dolly Zoom ►► https://bit.ly/ug-dz
The Ultimate Guide to Depth of Field ►► https://bit.ly/ug-df
The Ultimate Guide to Shot Sizes ►► https://bit.ly/ug-ss
What is Aperture? ►► https://bit.ly/wi-at
StudioBinder Blog ►► http://bit.ly/sb-bl
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Special thanks to:
UglyMcGregor ►► https://bit.ly/um-dz
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Chapters:
00:00 - Introduction to Dolly Zoom Shots in Film
00:57 - What is a Dolly Zoom?
04:09 - Speed and Focal Length
06:59 - Background Considerations
08:35 - Creative Examples
10:58 - Dolly Zoom in Guardians of the Galaxy Vol. 2
11:47 - Dolly Zoom in Raging Bull
13:17 - Takeaways
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THE DOLLY ZOOM EFFECT EXPLAINED
You know that moment in Jaws when Chief Brody sees the shark attack happening — the background stretches behind him as if reality itself is breaking apart. This intense and mind-bending shot is called a dolly zoom and it has been used for decades to capture moments like this. But how does the dolly zoom effect work and how many ways can it be used? In the video, we’ll explain the mechanics of the shot, the applications for it, and how to enhance it with lighting, camera angle, and sound design.
WHAT IS THE DOLLY ZOOM EFFECT
As Alfred Hitchcock explains, the idea for the dolly zoom goes back to one night when he was drunk. He described the sensation as “everything going far away from me” and an idea was born to recreate that experience in a film. The goal was to keep the subject fixed in the frame while the background stretched behind them. Hitchcock first wanted to use the shot in Rebecca when Joan Fontaine’s character faints but he couldn’t figure out how to do it. Nearly two decades later, when Hitchcock was making his classic Vertigo. It was a cameraman on the film named Irmin Roberts who found the solution — to zoom out while the dolly pushed in.
WHEN TO USE THE DOLLY ZOOM EFFECT
The dolly zoom effect can really amp up a moment like in Jaws, or it can work more subtly in the background to slowly crank up the tension. It is perfect for any sort of sudden or dramatic emotional or tonal shift — for positive and negative emotions alike. The dolly zoom effect is great for moments of fear, disorientation, infatuation, panic, revelation, etc. It can be the ideal way to accent and emphasize any important character moment.
HOW TO ENHANCE THE VERTIGO EFFECT
The textbook dolly zoom maneuver is visually compelling on its own but there are also a number of ways to enhance the Vertigo effect. For example, changing the lighting during the shot — like in The Lion King when Simba panics before the oncoming stampede. Sound design is also often paired with the camera movement as additional sensory input. For example, in Guardians of the Galaxy Vol. 2, when Peter is told how his mother really died, the soundtrack introduces a descending bass note, while high strings rise in the mix. The two complementary sounds nicely parallel the complementary movements of the lens and the camera.
The dolly zoom effect is relatively simple and it certainly looks cool. But the filmmakers that have been most successful using the Vertigo effect only when necessary to enhance a particular moment in a way that is beyond our normal visual experience.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
“Dark Night” - The Blasters
“Major Tom (Coming Home)” - Peter Schilling
“The Wanderer” - Makeup and Vanity Set
“Quantum IV” - Makeup and Vanity Set
“Tannhäuser Gate” - Makeup and Vanity Set
“Funeral March of a Marionette” - Charles Gounod and Lyn Murray
“Prelude and Rooftop” - Bernard Herrmann
“Stuck Behind a Train” - Makeup and Vanity Set
“Layla” - Derek and the Dominos
“Dinner Rush” - Michael Giacchino
“Le Vent Tourne” - Sens Unik
“Girl You’ll Be a Woman Soon” - Urge Overkill
“Eyes Without A Face” - Billy Idol
“Main Titles” - Theodore Shapiro
“The Descent” - David Julyan
“Meet Maguire” - Thomas Newman
“Needles and Dalgona” - PARK MIN JU
“Kid Vs. Herod” - Alan Silvestri
“Tina” - Randy Eelman
“Showtime, A Holes” - Tyler Bates
“Cavalleria Rusticana Intermezzo” - William Bowles
“Centaur Skin” - Tobacco
“Star Trek: The Next Generation Theme” - Jerry Goldsmith
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#black #africa #goblack2africa #africanamerican #panafricanisme #blackhistory #wodemaya
We’re still on a high from AfricanAncestry.com’s 20th Anniversary kick-off celebration of reconnecting Africa and the Diaspora through Genetics, Education, and Travel!
🧬 Did you catch Dr. Gina’s ancestry reveal of Lamara Patrick, a mom, entrepreneur, and author from Pittsburgh, PA. Click the link below to find out her results.
Link: https://youtube.com/live/KpNWNYZ2cak?feature=share
🎁 As part of our celebration, we’re offering 10% off ANY test kit! All month long! Use code BHM23 to grab yours! (exclusions apply)
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Live From African Ancestry's 20th Kick-Off Celebration!
LIVE from the AfricanAncestry.com 20th Anniversary Kick-Off Celebration❗️
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African Ancestry: We Are Africa Road Tour (2010)
https://youtu.be/av2ORwI0alA
---------------
The African Ancestry Experience
Hosted by Dr. Gina Paige, The African Ancestry Experience airs weekly on Facebook x YouTube x LinkedIn gathering notable people across the African Diaspora to discuss what it means to transform the way Black people view themselves and Africa.
Producer: Wendi Cherry for African Ancestry
#africanancestry20 #africanancestry #africa #dance #dna #genetics #anniversary #blackhistorymonth
Hear More of the Best Movie Soundtracks ►► http://bit.ly/best-movie-songs
More Directing Videos ►► http://bit.ly/2SMTez2
In this filmmaking video essay, we look at some of the best movie soundtracks to see how filmmakers’ music cues — or “needle drops” — create iconic cinema. The term “needle drop” refers to when a popular song is placed strategically in a scene. Here, our case studies of epic movie soundtracks are American Psycho, Thor: Ragnarok, and Almost Famous.
In a scene that famously features Huey Lewis and the News’ “Hip to Be Square,” the American Psycho soundtrack creates cognitive dissonance for viewers, juxtaposing the song’s upbeat tone with a grisly murder. The Thor: Ragnarok soundtrack uses Led Zeppelin’s “Immigrant Song” to celebrate its fallen hero’s return to glory. And the Almost Famous soundtrack cues up Elton John’s “Tiny Dancer” to create a moment of release for its characters at the film’s climax.
The needle drops in truly great movie soundtracks are designed to affect audiences in an extremely specific way. Some of these movie songs are tied directly to the plot, while others may intentionally offset the film’s tone to create irony.
Discerning directors also use music to introduce leitmotifs, and we’ll take a look at that, too — from Jaws to The Godfather to The Royal Tenenbaums. So, with our eyes and ears open, let’s explore the monumental importance of soundtrack in film.
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In this professional genealogist reacts, I watch "WHERE I'M REALLY FROM...*REVEALED* 👀🤯 | DNA TEST" by @jeremylynch
Check out the original video - https://www.youtube.com/watch?v=QBs5Ko2O5PI
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* From Generation to Generation: How to Trace Your Jewish Genealogy and Family History by Arthur Kurzweil - https://amzn.to/2AjD3mQ
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What is the point of having your African Ancestry results? What can you actually do with it ?
#AfricanAmericanGenealogy #genealogyresearch #africanancestry
What's up, Good Folks! Once again, I'm doing another DNA Reveal for some wonderful people. Mrs. Ruthie, her son David, and nephew Jeff have their African Ancestry Results revealed. And now they have ancestral heritage beyond the American South. At the end Mrs. Ruthie grades me on how I presented her results. I think I passed!
#theancestrychronicler #myancestrychronicles #africanancestry #dnareveal
5 Notable People You Didn't Know Have African Ancestry
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Actress and producer Issa Rae gains clarity on where she comes from… with a surprising twist ending that she likens to a soap opera! Watch as Henry Louis Gates Jr. walks her through her family history on PBS’s Finding Your Roots.
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Got the African Ancestry DNA results. I'm from the Masa People in Cameroon 🇨🇲 #cameroon #africa #africanancestry #myroots #ancestrydna #cameroonian #backtoafrica #ancestry #masa #peopleofcameroon #heritage #travel #dnaresults #african #malee
The Last of Us Behind the Scenes Cinematography Breakdown — a look at the creative visual choices made by the team of cinematographers, including choosing cameras, lenses, and handheld shots to keep the viewer as engaged with the show as players were with the game.
The Making of The Last of Us ►► https://bit.ly/co-lu
StudioBinder Blog ►► http://bit.ly/sb-bl
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Chapters:
00:00 - Intro to The Last of Us Cinematography
01:13 - The Challenge of Turning a Game into a TV Show
02:40 - Chapter 1: Camera & Lenses
05:31 - Chapter 2: Natural Lighting
11:08 - Chapter 3: Docustyle Camerawork
15:49 - Final Thoughts/Takeaways
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CINEMATOGRAPHY OF THE LAST OF US
Fans and critics alike have praised the adaptation of The Last of Us as one of the greatest video game-to-TV transfers. It would be easy enough to just replicate the shots from the game, but perhaps it goes beyond that. Maybe it is that the “experience” of watching the show so closely resembles the experience of playing the game. This was certainly the goal of the showrunners and cinematographers, and it informed many of their visual decisions, including the lighting, camera movement, and lens choices. In this video, we will dive into these choices that made the cinematography of The Last of Us so compelling.
THE LAST OF US CINEMATOGRAPHY — CAMERAS AND LENSES
One of the goals was to keep the environments visible around the characters. As DP Ksenia Sereda says, “We needed to be able to stay close but at the same time preserve the depth of background.” This helps keep the audience engaged in the world itself, not just with the characters. Plus, this extra negative space is a subtle reminder that an infected to could pop out at any moment. For more tense, claustrophobic scenes, like in the climactic scene of episode five, longer lenses collapse the depth for maximum tension.
THE LAST OF US CINEMATOGRAPHY — LIGHTING
DP Eben Bolter describes the lighting scheme as “cinematic naturalism,” which means grounding the visuals in the scene's reality. “It was about lighting a room rather than a shot. And letting flaws exist, and leaning into those flaws.” In other words, for the audience to immerse themselves as active participants, the world needed to look as real as possible.
Bolter also describes using a technique called “skip lighting,” which has exterior light bouncing off props or set dressing inside. Since electricity wasn’t always available in the story world, this simple technique maintains that reality.
THE LAST OF US CINEMATOGRAPHY — CAMERAWORK
As another element meant to ground the viewer in the reality of this post-apocalypse, handheld camerawork was heavily employed. According to Bolter, about 80 to 90 of each episode used this strategy. But instead of a literal handheld camera, they used a ZeeGee mount which provides the stability of a Steadicam but the look and feel of a handheld camera.
The difference in engagement between playing a video game and watching a TV show is worlds apart. But as the team behind the cinematography of The Last of Us has shown, it’s perhaps not as impossible as previously thought.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
"The Last of Us" - Gustavo Santaolalla
"Prelude in B Minor" - Will Taylor
"Left Behind" - Gustavo Santaolalla and David Fleming
"Spiral" - Alon Peretz
"Secret Weapon" - Evgeny Bardyuzha
"It Can't Last (Sunset)" - Gustavo Santaolalla and David Fleming
"A Battle in the East" - Rhythm Scott
"Invited" - Gustavo Santaolalla and David Fleming
"Raiders" - Gustavo Santaolalla and David Fleming
"When the Demons Came Knocking" - Eleven Tales
"All Gone (Isolation)" - Gustavo Santaolalla and David Fleming
"Breaching the Wall" - Gustavo Santaolalla and David Fleming
"Subterranean" - Gustavo Santaolalla and David Fleming
"Stockpile" - Gustavo Santaolalla and David Fleming
"Surveillance" - Gustavo Santaolalla and David Fleming
"1986" - Angel Salazar
"All Gone (Purpose)" - Gustavo Santaolalla and David Fleming
"All Gone (Affliction)" - Gustavo Santaolalla and David Fleming
"Forsaken" - Gustavo Santaolalla and David Fleming
"Still Need Syndrome" - Yarin Primak
"The Last of Us" - Gustavo Santaolalla
"Alone And Forsaken" - Hank Williams
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💃🏿 🎉 🕺🏾
African Ancestry is celebrating 20 years of reconnecting Africa and the Diaspora through Genetics, Education, and Travel - all year long! ✊🏾...And you're invited to our virtual, after-party on The African Ancestry Experience!
TONIGHT @ 7 PM/e, we’re keeping the celebration going with Dr. Gina and friends with highlights from last night's Kick-Off Party in Washington, D.C., reflections from supporters and the team, AND a toast to the future. So, be sure you have your fave beverage on deck! 🥂
Dr. Gina will do a special anniversary African Ancestry reveal of mom, author, and entrepreneur, Lamara Patrick!
Don't Miss It!
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African Ancestry Celebrates 19 Years!
https://www.youtube.com/watch?v=Ukoqsaqt1mM
African Ancestry: We Are Africa Road Tour (2010)
https://youtu.be/av2ORwI0alA
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The African Ancestry Experience
Hosted by Dr. Gina Paige, The African Ancestry Experience airs weekly on Facebook x YouTube x LinkedIn gathering notable people across the African Diaspora to discuss what it means to transform the way Black people view themselves and Africa.
Producer: Wendi Cherry for African Ancestry
#africanancestry20 #africanancestry #africa #dance #dna #genetics #anniversary #blackhistorymonth
Step by step process of getting your paperwork ready for Sierra Leone citizenship
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How to write the midpoint of a story — a comprehensive look at story structure and the midpoint in film, including strategies writers use to link Act One to Act Three.
What is a Midpoint? ►► https://bit.ly/wi-mp
More "What Is?" Videos ►► https://bit.ly/wi-pl
StudioBinder Blog ►► http://bit.ly/sb-bl
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Chapters:
00:00 - Introduction to Theme
00:52 - Definition & History
03:13 - Functions of the Midpoint
04:27 - Add a Time Clock
04:54 - Raise the Stakes
05:19 - Force Change
07:06 - Types of Midpoints
13:08 - Takeaways
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HOW TO WRITE THE MIDPOINT OF A STORY
The T-Rex attack in Jurassic Park, the shower scene in Psycho, and Michael’s restaurant hit in The Godfather — some of the most iconic scenes in film history, right? They also function as one of a story’s most important plot points: the midpoint. In this video, we’ll explain why the midpoint is so important and the various types writers can choose from that best fits their story.
WHAT IS A MIDPOINT
The concept of the midpoint was popularized by screenwriting guru Syd Field after he noticed his students were struggling in the second act of a three-act structure. It was his friend, director Sam Peckinpah, who explained that he always liked to hang his films on a “centerpiece,” usually in the middle, to keep the momentum going and/or to change the story’s direction. And, so, Field took this and dubbed it “the midpoint” — a major story beat or turning point in the middle of Act Two that connects the beginning and end while giving the story a boost of energy into the climax and final act.
TYPES OF MIDPOINTS
Even though the midpoint placement is fairly consistent (middle of Act Two), various types of midpoints will change the story in various ways. Choosing which type to use depends on the story and how you want the new trajectory to unfold into Act Three. The first type of midpoint is the setback. This is when the protagonist encounters a major obstacle that places them further away from their goal. Like in Dune, when House Atreides is betrayed, Duke Leto is killed, and Paul and Lady Jessica are exiled to the desert.
This is similar to another type of midpoint called a false defeat. This involves a temporary defeat or setback that becomes an opportunity to find a new, better plan. We can see this in The Matrix when the Oracle confirms Neo’s suspicions that he is not The One. Of course, Neo eventually does prove to be The One after he believes it for himself.
On the opposite side, there’s also a false victory midpoint — the hero believes they have made a breakthrough toward their goal only to realize it would ultimately lead to failure. In 500 Days of Summer, Tom believes that he is developed a deep romantic connection with Summer, which makes their breakup all the more devastating.
A reversal shifts the entire story and the protagonist’s goals. Like when Joel wants to reverse the procedure that is erasing Clementine from his memory in Eternal Sunshine of the Spotless Mind. There’s also the twist midpoint which is a major turning point the audience had no idea was coming that changes the direction, protagonist, or even the genre.
The midpoint in a story holds a lot of potential for writers to push their narrative in unexpected and compelling ways. If you can crack the midpoint, you can crack the entire story.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
"Double Espresso" - Francesco D'Andrea
"Battle Dance" - Rhythm Scott
"1986" - Angel Salazar
"Adventures on the High Road" - Jerry Fielding
"To Burn" - Man With Roses
"Cyberpunk Sunrise" - Evgeny Bardyuzha
'Stay" - Hans Zimmer
"Assembly Line Dreams" - Ostin Drais
"On the Eve of Harlan's Demise" - Nathan Johnson
"The New Godfather" - Nino Rota
"Paradise Found" - Michael Giacchino
"Out To Sea" - John WIlliams
"Blow To Bits"
"Still Need Syndrome" - Yarin Primak
"The One" - Hans Zimmer
"Wookie Prisoner / Detention Block / Ambush" - John Williams
"Main Title / Trinity Infinity" - Don Davis
"Cold Hearted Switch" - Don Davis
"Conspiracy Theories" - Jean Pol Cornelis
"To the Architect" - Rob Simonsen
"Collecting Things" - Jon Brion
"Theme"
"Yes I Am (Instrumental)" - Zach Sorgen
"Main Title" - Jerry Goldsmith
"Breakaway" -
"The Murder" - Bernard Hermann
"Fat Banana" - Kicktracks
"Stuck In The Middle With You" - Stealers Wheel
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The Director's Chair: How to Write and Direct a Movie like Christopher Nolan ►► http://bit.ly/2JNbfLN
Understanding how Christopher Nolan movies work so well is to understand more than cinema or the ability to film in Imax. You’ve watched Interstellar, Insomnia, Dunkirk, and The Dark Knight Trilogy (Batman), and love the cinematic storytelling from this prolific director and filmmaker in general. It doesn’t hurt when you have a Hans Zimmer score too. But what's it like actually being in the Director's chair?
Christopher Nolan movies like Memento and The Prestige reminds us, filmmakers, what cinema is all about, and film directing and editing has rarely been so good. Maybe you think best Christopher Nolan movies have Tom Hardy or Christian Bale in them - but the Dark Knight Rises movie had both… so that sort of disproves that theory.
Directing films and cinema like Christopher Nolan takes years or practice and research into filmmaking. That’s why Christopher Nolan movies can take you on a deep journey, and this video essay will show you how he keeps everything consistent in his films.
If you love Christopher Nolan movies, don’t write another page or direct another scene until you’ve seen our video essay. You don’t need a big Imax cinema to be able to make a film like Christopher Nolan. All you need is a good mind and hard work.
Christopher Nolan editing techniques also come into play, so learn how he directs a movie that will eventually be cut together in a somewhat unconventional manner.
The end result: You will know how to direct a movie like Christopher Nolan, and perhaps you will direct the next Dark Knight trilogy or Interstellar.
Enter the Director's chair to find out exactly how Christopher Nolan directs and edits his movies.
#filmmaking #christophernolan #thedarkknight
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Original Christopher Nolan Interviews & Quotes:
• Christopher Nolan: Self-Taught Filmmaker: http://bit.ly/2MffYYo
• BAFTA Guru: Christopher Nolan on Directing: http://bit.ly/2MmfiAO
• Christopher Nolan - How to Be a Filmmaker: http://bit.ly/2MmfwIa
• Jack Howard: I Love Christopher Nolan: http://bit.ly/2Mc7JMS
• Chris Nolan Talks BATMAN BEGINS on The Treatment: http://bit.ly/2M9mcZS
• VICE: Christopher Nolan on "Following" - Conversations Inside The Criterion Collection: http://bit.ly/2MbCRMA
• 18-Minute Analysis By Christopher Nolan On Story & Construction Of Memento: http://bit.ly/2Mbf7bb
• Eyes on Cinema: 24-Minute documentary on Christopher Nolan's Memento (2000): http://bit.ly/2McoO9z
• BBC Newsnight: Christopher Nolan: The full interview: http://bit.ly/2MaQ8F2
• Memento - Interview with Christopher Nolan (2004): http://bit.ly/2MbfjHr
• Christopher Nolan, Al Pacino - Insomnia Interview (Part 1 of 2): http://bit.ly/2M9Eg6d
• Christopher Nolan, Al Pacino - Insomnia Interview (Part 2 of 2): http://bit.ly/2Mm0qC6
• Christopher Nolan on Dunkirk | Interview Special | Film4: http://bit.ly/2Md9Z6D
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