短视频正在毁掉年轻人,诺兰:这些人都不会思考了!#纪实风云 #纪录片 #诺兰
Summary
TLDRThe transcript captures a thought-provoking conversation with a filmmaker who values the discipline of doing nothing and thinking. He discusses his approach to storytelling, particularly in the thriller genre, and the influence of masters like Hitchcock. The director shares his creative process, challenges of making a war film like 'Dunkirk', and his philosophy on filmmaking as a form of manipulation to engage audiences consciously. He also reflects on his role in the evolution of Hollywood and the importance of balancing blockbuster films with original content.
Takeaways
- 🤔 The individual values discipline and thoughtfulness over trivial use of technology.
- 🎬 The person appreciates the thriller genre and the subjective nature of storytelling in film.
- 🧐大师级导演如希区柯克和克鲁索如何通过操纵观众的感知来讲述故事,这一点令其着迷。
- 🌍 The creative process is invigorating when dealing with a historical setting that already exists, as opposed to creating a world from scratch.
- 🚫 The feeling of making a war film without personal experience in warfare is daunting, but approaching it as a survival story can provide confidence.
- 🎥 The director's role involves a variety of responsibilities and does not require specific strengths or weaknesses, but rather a general competence in many areas.
- 📝 Writing is the aspect of filmmaking where the limitations of one's abilities are most felt, especially in executing ideas.
- 🌟 The director is inspired by other filmmakers' ability to create worlds and has a fascination with the visual side of filmmaking.
- 📈 The director feels a responsibility to contribute to the evolution of Hollywood while balancing blockbuster films with original content.
- 🕒 The director's philosophy on movies is that all cinema is manipulation, but the key is whether this manipulation is apparent or hidden.
- 👥 The film 'Dunkirk' aims to confront the notion that one cannot truly know how they would behave until faced with a dire situation.
Q & A
What does the speaker value in terms of technology usage?
-The speaker values the discipline of doing nothing and thinking, rather than filling time with trivial technology usage.
How does the speaker describe their approach to storytelling?
-The speaker prefers a form of storytelling related to the thriller genre, where identity is not taken for granted and the audience's perceptions can be manipulated.
What was the speaker's creative process like for a film like 'Dunkirk'?
-The speaker's creative process for 'Dunkirk' involved researching and exploring the pre-existing historical world of the film, rather than building the world from the ground up.
How does the speaker handle the responsibility of portraying war in their films?
-The speaker approached 'Dunkirk' as a survival story rather than focusing on the war itself, aiming to tell a suspenseful story without being presumptuous or self-indulgent.
What is the speaker's perspective on the role of a director?
-The speaker sees the director's role as not being responsible for any one specific thing, but rather having a broad knowledge and ability across various aspects of filmmaking to inspire and focus the team.
How does the speaker feel about the challenges of writing in filmmaking?
-The speaker finds writing to be the aspect where they feel the limitations of their abilities the most, as it involves the difficulty of executing ideas that may initially seem promising.
Which writer has had a significant influence on the speaker?
-The speaker mentions being inspired by the Argentinian writer Borges, particularly in relation to the concept of 'Inception'.
How does the speaker view their place in the tradition of Hollywood?
-The speaker feels a responsibility to contribute to the evolution of Hollywood, balancing the growth of franchise properties with original films that bring something unfamiliar to audiences.
What philosophical stance does the speaker have on cinema?
-The speaker believes that all cinema is a form of manipulation, involving choices that directors make to influence the audience's perceptions and feelings.
How does the speaker approach the portrayal of human nature in 'Dunkirk'?
-The speaker aims to portray a more realistic and flawed view of human nature, emphasizing that people cannot truly know how they would behave until faced with a situation like that in 'Dunkirk'.
What is the speaker's strategy for manipulating the audience's experience in 'Dunkirk'?
-The speaker uses different timelines running at different time scales and puts the manipulation of the audience's feelings towards time in the foreground, aiming for an honest and conscious involvement in the story.
Outlines
🤔 Reflecting on Technology and Modern Life
The speaker discusses their disinterest in using email and phone, considering much of technology usage as trivial and time-filling. They value the discipline of doing nothing and thinking, rather than being constantly connected. The conversation shifts to the importance of storytelling and the speaker's appreciation for the thriller genre, particularly how it allows for the manipulation of audience perceptions and sympathies. The discussion also touches on the challenges of creating a film set in a historical context, as opposed to imagining future scenarios.
🎬 The Art of Suspense and Filmmaking
The speaker delves into their fascination with the thriller genre and the influence of masters like Hitchcock and Cluso. They explain how these filmmakers understood the power of manipulating audience perceptions. The conversation then moves to the creative process of making a film based on real historical events, as opposed to constructing a completely fictional world. The speaker shares their approach to making a war film, focusing on survival rather than taking a stance on war itself.
🌟 Embracing the Role of a Director
The speaker talks about the multifaceted role of a director, emphasizing the importance of focusing on the story and themes rather than getting too self-conscious. They discuss the creative process behind making an intense film and the ambition to make a cinematic telling of war. The speaker also shares their philosophy on filmmaking, including the responsibility to make a necessary film and the importance of not worrying about the scale of the project.
📚 Inspiration and Overcoming Writing Limitations
The speaker expresses their admiration for Borges, an Argentinian writer, and how his work has been an inspiration. They discuss the limitations of writing and the challenge of executing ideas. The conversation also touches on the role of a director in the filmmaking process, highlighting the director's ability to inspire and focus the team without needing to have specific strengths in every area.
🎥 The Philosophy of Cinema and Manipulation
The speaker shares their philosophy on cinema, viewing it as a form of manipulation through choices made by the director. They discuss the film 'Dunkirk' and how they used the element of time manipulation to involve the audience consciously. The speaker also talks about their role in the evolution of Hollywood, balancing the growth of superhero films with original content, and their desire to contribute something unique to the industry.
Mindmap
Keywords
💡modern world
💡discipline
💡thriller genre
💡objectivity
💡narrator
💡creativity
💡survival story
💡self-consciousness
💡philosophy
💡Hollywood tradition
💡manipulation
Highlights
The importance of discipline in technology use and valuing thoughtfulness over triviality.
The preference for storytelling in the thriller genre and its relation to subjective camera work.
The influence of great suspense masters like Hitchcock and Cluso on the perception of character identities.
The creative challenge of working within a pre-existing historical context as opposed to constructing a fictional world from scratch.
The approach to creating a war film by focusing on a survival story rather than war itself.
The director's personal connection to war through his grandfather's service in World War II.
The director's philosophy on filmmaking as an art form that balances technical skills with thematic depth.
The importance of balancing big-budget productions with original, innovative films in the industry.
The director's view on the role of a director as a facilitator of various artistic talents rather than a specialist in one area.
The challenge of translating an idea into a screenplay and the limitations of writing.
The inspiration drawn from other writers and the impact of admiration on one's own creative direction.
The director's place within the Hollywood tradition and the contribution to the evolution of filmmaking.
The concept of cinema as manipulation and the director's role in shaping audience perceptions.
The technique of using different timelines to immerse the audience in the subjective experiences of characters.
The exploration of human nature and the unpredictability of behavior in extreme situations.
The director's perspective on the role of cinema in shaping a realistic and human portrayal of events.
Transcripts
you said you don't use email and no
phone how to connect with the fast
changing modern
world I think a lot of what people do
with technology is very trivial actually
and very you know it's just filling time
uh I value I value the discipline of of
just doing nothing yeah and thinking and
just trying to puzzle out what is you're
working
on
m
[Laughter]
m
for
for
um
uh but
do
[Music]
[Music]
go
[Music]
hey nice to meet you hi want some tea or
you have tea I brought my own thank you
good so you must be very tired not too
bad I was in Asia anyway so I'm not
L how about
to yeah yeah we start yeah already fine
don't
[Music]
worry
[Music]
[Music]
[Applause]
got
he's on
me
fore
fore
for
for SC SC
[Music]
Scott
and both you know movies people always
very ambiguous about his own identity
his the fictional word and the true word
why this kind of things attract you so
much I mean it's become your MJ
subject
to it's from a kind of philosophical
thinking
of my favorite types of films have
always
somehow related to the Thriller genre I
like that form of Storytelling and I
because the camera pretends to be
objective yes but it's not you know it's
very subjective particularly if you
choose to use it in that way um and so
the great masters of suspense like
Hitchcock and cluso they understood how
to manipulate how to align an audience's
perceptions with one character or
another with their sympathies going to
one character or another um and I think
that stories in which you can't take
identity for granted even the identity
of the
narrator who's the good guy who's the
bad guy you know it's it's a fun thing
to play
with in the past you Al you always
imagine the future or you imagine the
maybe not very concrete things concrete
situation but now you facing the very
concrete historical place and uh event
so I mean the two imagination are very
different for you or similar and imagine
well I I found it um creatively I I
found it invigorating because the key
difference is that the world of the film
which is something you normally the
world of the film is something in which
as a writer I'm normally engage in
constructive
from the ground up particularly in a
film like Inception for example or uh
Interstellar um you know the script has
to create the entire world of the film
and the terms of it that part of it was
already done for me dun that exists it's
real and so all I had to do was research
it and read about it and so my creative
process was then different I didn't have
to build that I had to explore it quite
honestly the feeling of presumptuousness
about making a wol as somebody who's
never been to War I would I mean it's my
worst nightmare to imagine having to
fight a
war I had the privilege in my
grandfather was in the Air Force and he
died in World War II and I took my
children to go and visit his grave is
buried in France and
um when you look at the gravestones of
the people who actually died in this and
you think okay we're going to make an
entertainment we're going to make a you
know a cinematic telling of of War
that's very daunting and and it's
difficult to know how to go about that
for me the solution was to not look at
Don Kirk as a warm to look at as a
survival story and that I felt confident
of I felt confident of being able to
tell a
suspenseful story uh about
survival could or should director be of
philosopher I mean maybe you industry
produce your own Michelle FAL produce
your own Niche do you cannot see the
parallel between them well I think I
think for
me that would be too much of a it would
be too self-conscious to look at film
making that way um one of the pleasures
of talking about the F but you are very
self-conscious well not not at different
stages so you become very self-conscious
when you're talking about the film
you've made because you're being asked
you you know uh for me I like to really
stay focused on the story
and the themes of the film I like to try
and do that
instinctively rather than
self-consciously and I sort of trust
that the way in which I know how to make
a film technically that if there are
things that
are interesting to me philosophically
that they'll sort of somehow they'll be
there so for example with d Kirk we've
tried to make a very intense film that
and that was really really the ambition
and so the film's attitude to war
therefore for me had to
be not
self-conscious I didn't want to make a
film that was an anti-war film or proar
film or anything I wanted to make a film
that present my point of view on it and
enjoy that so from the the sounds a
little
self-indulging
yeah do worry about that maybe the genre
maybe the big big production maybe
Staffing your creativity I mean from
following insomnia the different parts
do you worry about it oh I don't I
mean I have worried about it in the past
in the case of this
film I very much chose to not worry
about it I very much chose to just say
this is a huge film that for a British
person particularly it's a necessary
film to be made somebody's going to make
it I want to be the person to make it um
and so I'm a responsible filmmaker and I
try and you know we made the film
efficiently we made it for a good price
for the studio and everything uh that
was our way of kind of dealing with the
practicalities but beyond that I did not
worry too much about the scale I just
said you know what we're just going to
make the film right and we need planes
and we need ships and we need thousands
of people and we're just going to make
this film and uh I think
that was important to do MH because the
rational part of my brain to sort of you
know the businessman if you like
MH what's the most Flor part of yourself
I don't want to go there I think too
much
[Laughter]
tea from the the first idea of the movie
until the finish the whole whole thing
the whole process what's the weakest
part of your in the whole process for
yourself the weakest part weakest
yeah gosh
um that's a difficult thing to answer
because the way the job of director
works is you
don't what I like about it is you're not
responsible for any one thing mhm and so
your responsibilities are spread you you
get to dabble you do a bit of everything
and
so for me it's not really about
weaknesses and strengths it's about an
overall I suppose an overall mediocrity
it's like I sort of I have to be pretty
good and kind of know quite a bit about
a lot of different things and so that's
kind of fun you don't have to be you
have experts around you I have a you
know fantastic Director of Photography I
have a fantastic designer I have a
fantastic editor and everything so I'm
really just there to sort of you know
try and give them focus and try and
Inspire them to do their best work um
and I think that's one of the reasons I
really like the job of director so you
don't really I'm not the member of the
team who has to have a specific strength
a specific weakness I sort of need to be
pretty good at a bunch of different
things and kind of just keep must be
Fox is there some some kind of
limitation you you hate it you want to
overcome it
I you
know you feel very much when you're
writing you feel the limitations of your
ability writing I think more than any
other aspect of film making is the one
where you have a
notion you have an idea underly and then
you're confronted with the absolute
difficulty of executing that it's very
very tough are there some writers
inspire you a
lot I was drawn to
um the writer I always point to is is
bores Argentinian writer stor my
favorite oh really yeah also about kind
of inception thank you very much yeah a
return to movie director you are
inspired by SC and this compare you
today's achievement with him so how do
you think about your
Innovation with them with him how am I
doing I I mean J it's not for me to say
um I think that interestingly
um the thing about Really Scott for me
that that captured my
imagination as a teenager and he always
stuck with me is his incredible ability
to create worlds and this fascination
with the visual side of film making and
an ability to to do that and so I when I
of making my films I think I pushed in a
very different direction and so my films
have been more about narrative I think
more about writing in a way uh and it's
almost that thing of the people you
admire so much you sort of need to to do
something you know different in in a
different way yeah today's you are you
are viewed as the representative for
today's
Hollywood and how do you how do you
think about the tradition of Hollywood I
mean from the John Ford from the Copla
until
James Cameron and here you I mean you're
part of tradition or how do you define
the tradition and do you do some
contribute something different in the
tradition well I think
um it comes back to everybody here
wanting me to talk
about Judge myself well no it's very
tough uh what I feel a responsibility to
do what I'm trying to do yeah is add
something to that development or that
Evolution but I would be lying if I said
I knew what it was that I could or had
done
um I've been very gratified by some of
the responses to dkirk where people
have felt that it is different or that
it adds something a little bit different
to um you know what you know a summer
blockbuster from Hollywood studio can be
you know whatever the thing I've tried
to do was I play a very big part
in uh you know the growth of uh or the
dominance I would say of superhero films
you know franchise properties and
everything and and you know that was an
incredibly important thing in in my
career I've always tried to balance that
side of of film making with original
films and and bring things that aren't
familiar to an audience uh but it's
difficult I mean in television everyone
always talks about how great TV is today
and how amazing it is and how much
better it is let's see films we we have
the opposite you you look at you say
well if if this film doesn't have some
unique point of view to it if it doesn't
have a strong point of view it's not
going to be interesting to people of
today could you imagine if you were in
Dunkirk what kind of role you will be
played you'll be desperate or you'll be
hopeful or braa all
C I think what the film tries to say
very strongly is we cannot know until we
are faced with the situation we like to
think that we would
behave in a noble way I wanted to be
more more real than that you know human
beings we're very
flawed yeah
creatures okay thank you so much thank
you running out thank you yeah next time
we can talk about B
yeah
yeah he well known China yeah quite
popular in among writers and the
thinkers yeah interesting but good TR
thank you very much nice take
care
[Music]
for
[Music]
fore
[Music]
consistent
[Music]
foree
[Music]
for
yeah
[Music]
from the following until now 20 years
past so what's your point of philosophy
on movie you know I think it was Alan
Parker who said all Cinema is
manipulation so to call it
manipulative interesting um and I guess
the question is if all Cinema is
manipulation which I think it is it's
all choices and I believe the director
has a very strong ability to manipulate
the perceptions of the audience the
question is do you do films where the
manipulation is apparent or where it's
hidden so for example with Dan Kirk a
lot of the men on the beach they were
never face to face with the Enemy they
were just suffering the ordinance from
the enemy they were suffering the planes
coming in and dropping bombs the mortars
and so forth that fear of the unknown
closing in going to say okay I want to
involve you and that I want to let you
know that these three different
timelines in no they're running at
different times time scales for example
I want you to be aware of that because I
sort of want you to be constantly
reminded of The Limited point of view of
each of the stories that you're you're
trapped in a subjective experience what
I do is I take that capacity for
manipulating your feelings towards time
and I put it foreground
that really puts you you know there with
those people on the beach or puts you in
the cockpit of a Spitfire in a dog
fighting the the ger planes above the
beach I'm trying to involve the audience
consciously in that process rather than
it being invisible manipulation it's
it's honest manipulation if you
like Mr Christopher
[Applause]
noan
what's the mosto part of
yourself I don't want to go there I
drink too much
tea
Voir Plus de Vidéos Connexes
Interview Paweł Pawlikowski – COLD WAR
Ari Aster presenta Beau Is Afraid a San Cosimato!
Come il cinema può rappresentare la diversità? con Gabriele Mainetti - Audi We Generation S5E1
Bawal ang Pasaway: Mareng Winnie interviews 5th richest Pinoy, billionaire David Consunji
Director Rob Burnett on ‘The Fundamentals of Caregiving’, Paul Rudd, and David Letterman
Brad Pitt - The Siskel & Ebert Interview (1995)
5.0 / 5 (0 votes)