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INTERVIEWER

Are there devices one can use in improving one’s technique?

CAPOTE

Work is the only device I know of. Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself. Even Joyce, our most extreme disregarder, was a superb craftsman; he could write Ulysses because he could write Dubliners. Too many writers seem to consider the writing of short stories as a kind of finger exercise. Well, in such cases, it is certainly only their fingers they are exercising.

Truman Capote Paris Review Interview (The Art of Fiction, No. 17) (via the-library-and-step-on-it)

directingfilm:

I love the way that the lights are gelled in this still from Minority Report. Cinematographer Janusz Kaminski discusses this shot, and many others, in these 11 Steven Spielberg-directed films.

In a four-star review of Spielberg’s 2002 sci-fi film, Roger Ebert spent a paragraph praising this “virtuoso shot” of Tom Cruise and Samantha Morton, calling it an image “that’s powerful and yet bafflingly simple.” “That’s nice of Roger,” says Kaminski. “It’s just a gorgeous shot of two lost people. I used a bluish side light, which to some degree glamorized them, but also made them very lonely and alienated from the rest of the scene. You work in metaphors through lights and composition, and the worst thing for me is to see a movie that doesn’t have that. You see a cinematographer’s work and there are no visual metaphors, or they are so afraid to create a style that it just becomes this nothing.” Kaminski washed the film in moody blues and grays as an homage to film noir, noting, “It’s a big palette, the movie screen. I dare to compare myself to painters, but I just have a bigger canvas to adapt to. If you don’t like my painting, don’t see the movie, you know?”

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