Directing

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DIRECTING

Not only does life imitate art. Life imitates the artist. And art/artist has no other goal than to sweep away anything in the way between us and reality, so that one day we may have coffee and cigarettes face to face with no conventional or socially accepted barriers.

To achieve this, I prefer longer shots that provide multiple focal planes, where details of a telephone, the window, the people through the window, and the landscape all can be interpreted by the viewer. During action scenes, I prefer wider shots than cheap closeups to reveal the action seqence played out, and in longer duration which brings me to why I am such a Hong Kong Action cinema freak. The films that disturb me are when wires and CGI are used for action support.

I am a big fan of the montage as it always opens the gate to the viewers freedom of their suggestion of the spacial juxtaposition observed. A small mystery can be filled uniquely by each viewer, but it is to be used at an expense and only to be used for integrational purposes.

The syle of acting I prefer is an acting that does not call complete attention regardless of the composition of the shot. Just because the protagonist has to answer the door, does not mean the direction of the scene has to include complete closeups along with direct cuts between the subject and the person at the door. It would be calling too much attention for the actor to imply to the audience, straight to the nerves of their brains that he is answering the door not for himself. An example to think of is when on those dark cloudy rainy days, in the moments where you don't want to talk to anybody in the streets but rather go home quickly to relax. This is where you'd catch the glipse of what I would consider good acting if you were to capture that scene.

And as for mise en scene set ups, I prefer a non artificial line up, and a decoration that shows rather than tells. The subtlety is not sublety at all.

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