Brooks 's first features, "The Producers" (1968) and "The Twelve Chairs," told original stories. Since then, he has specialized in movie satires; his targets include Frankenstein, Hitchcock, Westerns, silent movies and historical epics. I usually find a few very big laughs and a lot of smaller ones in his movies, but the earlier ones are stronger than the more recent films, and I keep wishing Brooks would satirize something
His most notable work, however, was not on a live, professional stage. Instead, he was behind the camera, in 1972, as the director of the iconic work Cabaret; this film, to this day, holds the record for most number of Academy Award wins in a single year without the accolade of “Best Picture”. In the box office, the film collected approximately $42,765,000. Years later, he directed the musical film All That Jazz, a semi-autobiographical movie about Bob Fosse’s
For example, consider the scene in which Vincent is upstairs with his dog Sparky. In that scene he was giving a lecture to his dog because he escaped when he wasn’t supposed to because Sparky was brought back from the dead. This scene was in a high angle spot with low key lighting which created a hopeless and suspenseful environment. The tone that Tim Burton gave towards Vincent was a lonely boy who couldn’t be without his dog because he was the only child his parents had. A second example of a two shot is in the movie Edward Scissorhands where Edward was creating a ice sculpture for Kim with his scissorhands.
Charlie Chaplin and Buster Keaton were both comedic geniuses that rose to fame at an early age. Both known for their outstanding slapstick comedy films, it is still debated which of the two is the greater comedic genius of his time. While the two shared many similarities, their movie styles differed from one another quite a bit. Their acting, storylines, and on-screen personalities has their own vey distinct styles.
Mise-en-Scene in Edward Scissorhands Tim Burton directed the film Edward Scissorhands which tells a story of an unfinished creation, a young man named Edward, who leaves his isolated mansion into the world of a suburban town for the first time. Despite having giant scissors instead of hands, the town accepts his unique anatomy. However, they then try to make him conform to how they live. Edward does try to fit in but to no avail. Eventually, he escapes back to his mansion.
“A man with no enemies is a man with no character.” -Paul Newman. In the 60’s, Paul Newman was a very well known actor who starred in movies like “The Sting.” Due to him being in fantastic 60’s movies and having various accomplishments, Paul Newman was the most inspiring actor during that time. Paul Newman had a satisfying childhood.
The Aztec and Inca Empires were two empires that grew their power and success through innovation. The Aztec Empire was an empire located in modern-day Mexico. This empire was a widespread empire, with its capital city of Tenochtitlan resting on an island in the middle of a lake. Due to the empire being very widespread, a road system was necessary to connect the empire and maintain control. With the location of the capital city, came the extreme need for a new, more advanced system of agriculture.
He made films to express his personality. A lack of funding was a limitation for him to make his films, but he was still able to reach something that he wanted in his film. Characters he has made were the outcome of his deliberation. For example, Stranger than Paradise is one of his successful films, and it really pulls audiences to think about their life. He made movies not for input
Buster Keaton uses creative approaches using the body, landscape, and the face that qualifies The General as one of the greatest films in American history. As Cohen writes, “Keaton is a uniquely self-reflexive figure in silent film because he associates his character’s acquisition of physical mastery with the capabilities of his medium;
He took great pride in his radio success and ultimate film success. Welles was pleased to be the cutting edge creator of Hollywood film sound. The outstanding sound works displayed in the film Citizen Kane would not be challenged until the
Unlike Chaplin, Buster Keaton
Buster Keaton's attention to detail and alternating use of short and long shots in Our Hospitality serves to create an authentic narrative for the film. Since Our Hospitality was created in the 1920s as a silent film, Keaton cannot rely on dialogue or music to engage his audience in the story he wishes to tell with his film. By employing long shots – wide angle views of full scenes – Keaton can orient the audience, so they feel like they are not seeing a contrived movie set, but a larger scene from real life. At the same time, Keaton also employs close-up "short shots" on the actors' facial expressions and body language to convey their feelings without words. Finally, Keaton's attention to detail in his selection of props for the film enhances
Alfred Hitchcock was a wonderful director and producer who will continue to be remembered for his great creations in film. He used many different techniques, including Classical Hollywood style and structure, to develop this film into what it is, and can be used as a great example when learning about those
He also directed important movies in Hollywood (IMDb). I will evaluate his three movies according to mix genre. These movies are Bullet in the Head (1990), Hard Boiled (1992) and The Killer (1989). When we evaluate these three films, we can see
Directed by Fritz Lang, the silent film Metropolis (1927) served and still continues to serve as an inspiration to many successful filmmakers and aspiring filmmakers alike. The techniques and editing skills used for this film pretty much lead to the development of the skills and techniques used today. Other notable people who helped make this film a success include Lang’s wife, Thea Von Harbou as the screenwriter and author of the book, Metropolis, Karl Freund and Günther Rittau as the cinematographers, Otto Hunte, Erich Kettlehunt and Karl Volbrecht for their remarkable set design, Gottfried Huppertz for the music, and Walter Schultze- Mittendorf as the sculptor. The major characters in this film include Alfred Abel as Joh Fredersen, Gustav
