Edited by way of popular Allen specialists, A significant other to Woody Allen provides a set of 26 unique essays at the director’s movies. Contributions provide a few divergent severe views whereas increasing the contexts during which his paintings is understood.
• A well timed significant other through the authors of 2 of crucial books on Allen to date
• Illuminates the movies of Woody Allen from a couple of divergent severe perspectives
• Explores the contexts within which his paintings could be understood
• Assesses Allen’s notable filmmaking profession from its early beginnings and investigates the conflicts and contradictions that suffuse it
• Discusses Allen’s attractiveness as a world cinematic determine
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Extra resources for A Companion to Woody Allen (Wiley-Blackwell Companions to Film Directors)
1 t 2 8 . UNFAIR SPEED GAIN Not all chase scenes are a mad rush, with one character chasing another. Sometimes, your hero is simply trying to hide, hoping the attacker won't find him. When this is the case, you create a jolt of fear in the audience, when the attacker makes a sudden gain on the character. In reality, this could never happen, but with careful shooting and editing, you can make it look as though your hero's slight hesitation has given the attacker the chance to make great progress in his pursuit.
Make sure there's plenty of light on the outside wall, otherwise the shot simply goes dark, rather than revealing the dark, empty room. The technique can be varied in many ways to create other emotions. You could, for instance, follow a character towards a front door, which is slammed behind her, leaving us dollying in on a closed door. Or you could push in on a character sitting in a car, which drives out of the shot. , I SCENE SWAP Imagine that you want two conversations to take place in the same location, one after the other.
Set up your camera outside a window, and dolly smoothly towards your main character, as she closes the windows, backs out of the shot and turns out the light. Make sure there's plenty of light on the outside wall, otherwise the shot simply goes dark, rather than revealing the dark, empty room. The technique can be varied in many ways to create other emotions. You could, for instance, follow a character towards a front door, which is slammed behind her, leaving us dollying in on a closed door. Or you could push in on a character sitting in a car, which drives out of the shot.