Sergio Leone parla dello storyboard, 1983

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  • čas přidán 20. 07. 2022
  • Set di C'era una volta in America +
    Intervista Rai a Sergio Leone, 1983

Komentáře • 5

  • @richardsarafi
    @richardsarafi Před rokem +7

    What a pity he left us too soon, I would have liked to see his film about Stalingrado, so that the academy would recognize him as the genius he was.

  • @simonebulleri1975
    @simonebulleri1975 Před rokem +5

    Documento eccezionale, grazie.

  • @randallstussy
    @randallstussy Před rokem +3

    Thanks for the work on this channel, many curiosities from Leone here.

  • @radomarfalcao
    @radomarfalcao Před rokem +3

    Maestro!

  • @jimboneous947
    @jimboneous947 Před rokem +1

    Set of Once Upon a Time in America
    What do you think about storyboards? Would you like to have an entire film drawn first?
    I would like to have a film made first. No, I think storyboards are important for a certain kind of film. My good friends Lucas, Spielberg make very particular films, like "Star Wars" and others. For them, having, from the beginning, a precise outline of what is to be done is important, but even then, I don't think storyboards play an essential role. The creativity of the author is fundamental. Lucas is good because he invents these things, and, even if he doesn't draw them, he inspires them. The same goes for Spielberg and even Coppola. I liked Coppola better when there was no storyboard. For me, I feel that it conditions me a lot, so much that I have always refused this kind of film, since "Barbarella". Many years ago, when De Laurentiis proposed I refused, because of this limitation, I find it emasculating.
    What do you think of the story through the video?
    It should be suggestive. Undoubtedly, I think that the best director is the one, as we can see, who is also a camera. Like Lelouch, who is inside, sees everything, controls everything, even if this implies a certain limitation in other areas. Perhaps by being too "inside", we will see less of the surface, that is, the actors and their interpretations. Of course, a director always trusts the word of the camera. "How was it?" When we hear a half-hearted "yes," we start to break into a cold sweat. We don't know whether to say "no" or "no". Being able to control the image through video, especially when it is complicated, when there is dolly, zooming, entire sequences shot in long takes, having control through video is interesting and perhaps indispensable.