Scorsese is known for his frequent use of slow motion, for example, in "Who's That Knocking at My Door" (1967) and "Mean Streets" (1973). He is also known for using freeze frames, such as: in the opening credits of "The King of Comedy" (1983), throughout "Goodfellas" (1990), "Casino" (1995), "The Departed" (2006), and in "The Irishman" (2019). His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion—Cybill Shepherd in "Taxi Driver"; Cathy Moriarty's white bikini in "Raging Bull"; Sharon Stone's white minidress in "Casino".
Slow motion and freeze frame
Martin Scorsese
Martin Scorsese | Slow motion and freeze frame
Yes, he is known for his frequent use of slow motion, freeze frames in films He is known for his frequent use of slow motion and also known for using freeze frames. Yes, the use of slow motion and freeze frame. He is known for his frequent use of slow motion.
i'm just a girl by no doubt
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"Just a Girl" is a song by American band No Doubt.
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has anyone sang a cover of it?
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Yes, American country duo Bomshel,  Japanese singer-songwriter Kaela Kimura
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when was the original song released?
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September 21, 1995
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who are the members of the afore-mentioned band?
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The band consists of vocalist Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young.
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what was the vocalists debut album or song?
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Her debut studio album was "Love. Angel. Music. Baby."
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what are some places that she has toured in?
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Sorry. I cannot find the answer based on the context.
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has she acted in any movies?
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She made her film debut playing Jean Harlow in Martin Scorsese's "The Aviator"
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who is the second person mentioned here?
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Martin Charles Scorsese  is an American film director, producer, screenwriter, and actor.
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are there any frame and motion techniques that he made popular?
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Scorsese is known for his frequent use of slow motion, for example, in "Who's That Knocking at My Door" (1967) and "Mean Streets" (1973). He is also known for using freeze frames, such as: in the opening credits of "The King of Comedy" (1983), throughout "Goodfellas" (1990), "Casino" (1995), "The Departed" (2006), and in "The Irishman" (2019). His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow motion—Cybill Shepherd in "Taxi Driver"; Cathy Moriarty's white bikini in "Raging Bull"; Sharon Stone's white minidress in "Casino".
Martin Scorsese | Slow motion and freeze frame
Some of his films include references/allusions to Westerns, particularly "Rio Bravo", "The Great Train Robbery", "Shane", "The Searchers", and "The Oklahoma Kid". Slow motion flashbulbs and accented camera/flash/shutter sounds are often used, as is the song "Gimme Shelter" by The Rolling Stones heard in several of Scorsese's films: "Goodfellas", "Casino", and "The Departed".
Martin Scorsese | Slow motion and freeze frame
This may be a nod to director Alfred Hitchcock. Scorsese often uses long tracking shots, as seen in "Taxi Driver", "Goodfellas", "Casino", "Gangs of New York", and "Hugo". MOS sequences set to popular music or voice-over are regularly seen in his films, often involving aggressive camera movement and/or rapid editing. Scorsese sometimes highlights characters in a scene with an iris, an homage to 1920s silent film cinema (as scenes at the time sometimes used this transition). This effect can be seen in "Casino" (it is used on Sharon Stone and Joe Pesci), "Life Lessons", "The Departed" (on Matt Damon), and "Hugo".
Martin Scorsese | Slow motion and freeze frame
Several recurring filmmaking techniques are identifiable in many of Scorsese's films. He has established a filmmaking history which involves repeat collaborations with actors, screenwriters, film editors, and cinematographers, sometimes extending over several decades, such as that with recurring cinematographers Michael Ballhaus, Robert Richardson, and Rodrigo Prieto.
Martin Scorsese | Filmmaking style and technique
It was this reckless attitude towards convention that mirrored the attitude of many of the gangsters in the film. Scorsese remarked, "So if you do the movie, you say, 'I don't care if there's too much narration. Too many quick cuts?—That's too bad.' It's that kind of really punk attitude we're trying to show." He adopted a frenetic style to almost overwhelm the audience with images and information. He also put plenty of detail in every frame because he believed the gangster life is so rich. Freeze frames were used as Scorsese wanted images that stopped "because a point was being reached" in Henry's life.
Goodfellas | Photography
However, the lurid subject matter gave Scorsese a chance to experiment with visual tricks and effects. The film garnered two Oscar nominations. Earning $80 million domestically, it stood as Scorsese's most commercially successful release until "The Aviator" (2004), and then "The Departed" (2006). The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.39:1. In 1990, Scorsese acted in a small role as Vincent van Gogh in the film "Dreams" by Japanese director Akira Kurosawa. Scorsese's 1994 cameo appearance in the Robert Redford film "Quiz Show" is remembered for the telling line: "You see, the audience didn't tune in to watch some amazing display of intellectual ability.
Martin Scorsese | 1990s
Moving the table on which the model is standing while the film is being exposed creates a slight, realistic blur. This technique was developed by Ladislas Starevich: when the characters ran, he moved the set in the opposite direction. This is seen in "The Little Parade" when the ballerina is chased by the devil. Starevich also used this technique on his films "The Eyes of the Dragon", "The Magical Clock" and "The Mascot". Aardman Animations used this for the train chase in "The Wrong Trousers" and again during the lorry chase in "A Close Shave". In both cases the cameras were moved physically during a 1-2 second exposure.
Go motion | Moving the table
The following is typical of the reaction when such films of his works are seen by viewers: This ... motion picture is a film of drawings, but not of static drawings ... it seems to have been made by cameras moving seamlessly over hundreds of drawings. The overall effect is almost that it has been filmed live ... yet it is ... drawings.
Franklin McMahon | Technique
Scorsese was one of only two people who regularly rented it; the other was future film director George A. Romero. Scorsese has cited Sabu and Victor Mature as his favorite actors during his youth. He has also spoken of the influence of the 1947–48 Powell and Pressburger films "Black Narcissus" and "The Red Shoes", whose innovative techniques later impacted his filmmaking. In his documentary titled "A Personal Journey with Martin Scorsese Through American Movies", Scorsese said that he was enamored of historical epics in his adolescence, and at least two films of the genre, "Land of the Pharaohs" and "El Cid", appear to have had a deep and lasting impact on his cinematic psyche.
Martin Scorsese | Early life
Martin Scorsese included a clip from the film for his "A Personal Journey with Martin Scorsese Through American Movies"; the film's final carnival scene remains for Scorsese one of the best and most expressive uses of CinemaScope. In his book "Who the Hell's in It", director Peter Bogdanovich writes extensively about "Some Came Running". He later filmed a short segment for Turner Classic Movies on its influence on cinema. In the 1997 movie "Flubber", the robot Weebo uses a clip from the film as a shout-out for why she won't sabotage the professor’s relationship anymore.
Some Came Running (film) | Legacy
In the 1920s, Ladislas Starevich started using this technique by the time he started making films in France. He moved the puppet or the set during the exposure of the frame to create motion blur. Some of this can be seen in films like "The Midnight Wedding", "Love in Black and White", "The Voice of the Nightingale" or "The Little Parade" and more extensively in the battle scene of "The Queen of the Butterflies" (1924) and "The Mascot" (1933). Phil Tippett and Industrial Light & Magic later recreated the go motion technique for some shots of the tauntaun creatures and AT-AT walkers in the 1980 "Star Wars" film "The Empire Strikes Back".
Go motion | History
"Man with a Movie Camera" is famous for the range of cinematic techniques Vertov invented, employed or developed, such as multiple exposure, fast motion, slow motion, freeze frames, match cuts, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, reversed footage, stop motion animations and self-reflexive visuals (at one point it features a split-screen tracking shot; the sides have opposite Dutch angles).
Man with a Movie Camera | Introduction
He still used many elements from the "primitive" style of movie-making that predated classical Hollywood's continuity system, such as frontal staging, exaggerated gestures, minimal camera movement, and an absence of point of view shots. Some claim, too, that he "invented" the close-up shot for filming.
Film grammar | Introduction
His methods were popularized in Europe in a series of films in the 1920s and 30s. It became popular in the United States after Schneider moved there in 1939, having been jailed during the Anschluss.
Arlberg technique | Introduction
100 Movies (10th Anniversary Edition) list. Scorsese's next project was his fifth collaboration with Robert De Niro, "The King of Comedy" (1983). It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act (kidnapping). The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed previously, often using a static camera and long takes. Here the expressionism of his previous work gave way to moments of almost total surrealism.
Martin Scorsese | 1980s
The idea after the technique was to paint or scratch the images directly onto the movie tape instead of using a camcorder. Usually one second of movie uses 24 frames. For example, his debut film "Phobia" 1967, lasts 11 minutes. 660 seconds times 24 frames gives us 15,840 images that had to be painted. Antonisz famous of his mechanical skills, has constructed numerous accessories supporting the creation of non-camera movies. His own "Antoniszograf fazujący" was a machine which scratched a set of frames, with a fluid frame by frame transition between the following images. Another invention was his prototype of a "chropograf" (which could loosely be translated as texture-graph), which created an image with distinctive levels of roughness, allowing the blind to recognize shapes presented on the picture.
Julian Antonisz | Introduction
Chapman's innovation found quick favour in late 1960s and 1970s television, notably in title sequences. "Mannix", "Barnaby Jones", "Kojak", "Medical Center", "Dallas", "Phyllis", "Lancelot Link", "Me and the Chimp", "The Brady Bunch" and "The Bob Newhart Show" (beginning with the fifth season in 1976-77) are all examples of the technique being used in opening credits to some extent, whether approximately as in "A Place to Stand" or combined with regular film sequences (as with the latter). Indeed, the multi-dynamic image technique has been referred to in the press as the "Brady Bunch effect". The more contemporary U.S. action drama TV series "24" as well as the Canadian documentary series "Final 24" both also use the technique.
Multi-dynamic image technique | Influence
While attending the Tisch School of the Arts, Scorsese made the short films "What's a Nice Girl Like You Doing in a Place Like This?" (1963) and "It's Not Just You, Murray!" (1964). His most famous short of the period is the darkly comic "The Big Shave" (1967), which features Peter Bernuth. The film is an indictment of America's involvement in Vietnam, suggested by its alternative title "Viet '67". Scorsese has mentioned on several occasions that he was greatly inspired in his early days at New York University by film professor Haig P. Manoogian. In 1967, Scorsese made his first feature-length film, the black and white "I Call First", which was later retitled "Who's That Knocking at My Door", with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker, both of whom were to become long-term collaborators.
Martin Scorsese | Early career
The original surname of the family was "Scozzese", later changed to Scorsese because of a transcription error. Scorsese was raised in a predominantly Catholic environment. As a boy, he had asthma and could not play sports or take part in any activities with other children, so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed a passion for cinema. As a teenager in the Bronx, Scorsese frequently rented Powell and Pressburger's "The Tales of Hoffmann" (1951) from a store that had one copy of the reel.
Martin Scorsese | Early life
Director Hu adopted the classic techniques of montages, including eye-line matches and shot-reverse-shot. He also used jump cuts to create the speed of motions in action effects and applied blocked shots as his signature on evacuating the space before actions take place. Hu also creates “the glimpsing effect” (also called point-of-view shot) to provide a new perspective to audiences. “The glimpsing effect” allows the audience to see the perspective of Gu.
A Touch of Zen | Cinematography
In 2012, Scorsese participated in the "Sight & Sound" film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Scorsese, however, picked 12, which are listed below in alphabetical order:
Martin Scorsese | Favorite films
He uses the rotoscopic technique which involves projecting film frames on to paper and then tracing them by hand. After this, the paper images are animated by separately shooting each sheet as a single frame.
Jeff Scher | Film Methodology
He would not always use these kinds of camera movements ("The Student Prince in Old Heidelberg" has none), but his most famous films all have them.
John J. Mescall | Introduction
For each production Kenny invented what he called a "frame", as in framework or scaffold or skeleton. For productions with small budgets the frame would be stationary and for productions with large budgets the frame would be dynamic, moving. In "Oliver!" the frame consisted of multi-level scaffolding built on a rotating turntable and two rotating side wagons, properly called ring fragments, that followed the curve of the turntable. In "Pickwick", the frame was four multi-level scaffolds on wagons that could move in any direction, like four rolling houses. For "Blitz!" the frame was four multi-level scaffolds on rolling wagons and two towers that rolled up and down stage, connected by a bridge that raised and lowered while the towers were moving.
Sean Kenny (theatre designer) | Design style
It still bore many of Scorsese's trademarks, however. The "King of Comedy" failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director Wim Wenders numbered it among his 15 favorite films. Also, in 1983, Scorsese made a brief cameo appearance in the film "Anna Pavlova" (also known as "A Woman for All Time"), originally intended to be directed by one of his heroes, Michael Powell. This led to a more significant acting appearance in Bertrand Tavernier's jazz film "Round Midnight". He also made a brief venture into television, directing an episode of Steven Spielberg's "Amazing Stories".
Martin Scorsese | 1980s
An early use of the technique is in the British police procedural "The Bill", and it was used widely on "St. Elsewhere" but it was arguably popularized by "E.R.", which used the technique to get doctors from place to place. Director Thomas Schlamme also favored the technique in "Sports Night" when working with writer Aaron Sorkin. Schlamme adapted it from the typical wide-angle shot of the time to a closer tight-angle shot, usually encompassing only the subjects' upper torsos. Subsequently, Schlamme used this technique heavily in Sorkin's NBC show "The West Wing", and it remains a favorite of Sorkin, who continued its use in his show, "Studio 60 on the Sunset Strip".
Walk and talk | Use
Spielberg became interested in film preservation when he went to view the master of his film "Jaws," only to find that it had badly decomposed and deteriorated—a mere fifteen years after it had been filmed. Scorsese drew attention to the film industry's use of color-fading film stock through his use of black-and-white film stock in his 1980 film "Raging Bull". His film, "Hugo" included a key scene in which many of film pioneer Georges Méliès' silent films are melted down and the raw material recycled as shoes; this was seen by many movie critics as "a passionate brief for film preservation wrapped in a fanciful tale of childhood intrigue and adventure".
Film preservation | Studio efforts
In 1902, Méliès began to experiment with camera movement to create the illusion of a character changing size. He achieved this effect by "advancing the camera forward" on a pulley-drawn chair system, which was perfected to allow the camera operator to accurately adjust focus and for the actor to adjust his or her position in the frame as needed. This effect began with "The Devil and the Statue", in which Méliès plays Satan and grows to the size of a giant to terrorize William Shakespeare's Juliet, but then shrinks when the Virgin Mary comes to the rescue. This effect was used again in "The Man with the Rubber Head", in which Méliès plays a scientist who expands his own head to enormous proportions.
Georges Méliès | International success
The now-common montage sequence often appeared as a notation in Hollywood screenplays of the 1930s and 40s as the "Vorkapich" because of his mastery of the dynamic visual montage sequence wherein time and space are compressed using a variety of cinematic techniques, such as kinetic montage, camera tricks, optical printer effects, dolly shots, & stylized graphics. Sometimes moviemakers will simply refer to the technique as "a Vorkapich". Vorkapich's protege Art Clokey learned kinescope animation techniques under him at USC Film School and went on to use them to create the "Gumby" animated series. Two of his many master drawings, his gift during a visit to Yugoslavia, are kept in the Srem Museum in Sremska Mitrovica.
Slavko Vorkapich | Influence and legacy
They just wanted to watch the money." De Fina-Cappa was the production company he formed that same year with producer Barbara De Fina. In the early 1990s, Scorsese also expanded his role as a film producer. He produced a wide range of films, including major Hollywood studio productions ("Mad Dog and Glory", "Clockers"), low-budget independent films ("The Grifters", "Naked in New York", "Grace of My Heart", "Search and Destroy", "The Hi-Lo Country"), and even the foreign film ("Con gli occhi chiusi" (With Closed Eyes)).
Martin Scorsese | 1990s
Rejtman uses a minimalist style when making films. He said, "When I made "Rapado", I felt that Argentine cinema had too much dialogue, and bad dialogue at that. I hate adornments, I hate artifice, I hate anything that's unnecessary, because there really is nothing beyond the screen."
Martín Rejtman | Filming style
Here, a small boy is shown knocking down a castle just constructed by a little girl out of children's building blocks. A title then appears, saying "Reversed", and the action is repeated in reverse so that the castle re-erects itself under his blows. Cecil Hepworth improved upon this technique by printing the negative of the forwards motion backwards frame by frame, so that in the production of the print the original action was exactly reversed. Hepworth made "The Bathers" in 1900, in which bathers who have undressed and jumped into the water appear to spring backwards out of it, and have their clothes magically fly back onto their bodies.
Cinematography | Other special techniques
(Chapman later dissuaded a “very disappointed” McQueen from using the technique in his 1971 vehicle "Le Mans", claiming “it was much too big a film, with too many writers; it wouldn't work that way.” He has stated that “many filmmakers then adopted multi-dynamic image even though few understood it.”) "The Boston Strangler", also from 1968 (director Richard Fleischer), has several long multi-frame sequences clearly based on Chapman's original in terms of arrangement and rhythm; here, however, the panes remain static and do not show identical images in simultaneous multiplicity. Fleischer used the technique again, this time with subdivided images and moving panes closer to Chapman's original, in the title sequence to his 1973 film "Soylent Green".
Multi-dynamic image technique | Influence
Stop-motion as well as cutout animation are used, just as Edwin Porter moved his letters in "How Jones Lost His Roll", and "The Whole Dam Family and the Dam Dog". However, there is a very short section of the film where things are made to appear to move by altering the drawings themselves from frame to frame. The film moves at 20 frames per second.
Humorous Phases of Funny Faces | Techniques
Ozu was widely noted for a style characterized by a frequent avoidance of the kinds of camera movements—such as panning shots, tracking shots or crane shots—employed by most film directors. (As he himself would sometimes remark, "I'm not a dynamic director like Akira Kurosawa.") Bordwell notes that, of all the common technical practices that Ozu refused to emulate, he was "most absolute" in refusing to reframe (for example, by panning slightly) the moving human figure in order to keep it in view; this critic claims that there is not a single reframing in all of Ozu's films from 1930 on.
Late Spring | Static camera
D. W. Griffith, who pioneered screen cinematographic techniques and narrative format, is associated with popularizing the close up with the success of his films. For example, one of Griffith's short films, "The Lonedale Operator" (1911), makes significant use of a close-up of a wrench that a character pretends is a gun. Lillian Gish remarked on Griffith's pioneering use of the close-up: The people in the front office got very upset. They came down and said: 'The public doesn't pay for the head or the arms or the shoulders of the actor. They want the whole body. Let's give them their money's worth.' Griffith stood very close to them and said: 'Can you see my feet?' When they said no, he replied: 'That's what I'm doing.
Close-up | History of the close-up
Notable distinctions of Fosse's style included the use of turned-in knees, the "Fosse Amoeba", sideways shuffling, rolled shoulders and jazz hands. With Astaire as an influence, Fosse used props such as bowler hats, canes and chairs. His trademark use of hats was influenced by his own self-consciousness, according to Martin Gottfried in his biography of Fosse, "His baldness was the reason that he wore hats, and was doubtless why he put hats on his dancers." Fosse used gloves in his performances because he did not like his hands. Some of his most popular numbers include "Steam Heat" ("The Pajama Game") and "Big Spender" ("Sweet Charity").
Bob Fosse | Innovations
Howe earned the nickname "Low-Key Howe" because of his penchant for dramatic lighting and deep shadows, a technique that came to be associated with film noir. Later in his career, as film-stocks became faster and more sensitive, Howe continued to experiment with his photography and lighting techniques, such as shooting one scene in "The Molly Maguires" solely by candlelight. Howe also was known for his use of unusual lenses, film stocks, and shooting techniques. For the 1927 film, "The Rough Riders", Howe created an early version of a crab dolly, a form of camera dolly with four independent wheels and a movable arm to which the camera is attached.
James Wong Howe | Technical innovations
This sketch relies heavily on the low-budget filming method Syncro-Vox. A TV screen is lowered down to the seat where the interviewed would actually sit. On the screen is a still image of a celebrity, with live video of the mouth of the back stage impersonator superimposed—because of this method, the fake interviews are also called the ""Clutch Cargo" routine", after the 1959 cartoon, that is the most widely remembered user of Syncro-Vox. Commonly impersonated celebrities are Arnold Schwarzenegger (who almost always mentions his 'smash hit holiday classic', "Jingle All the Way", and makes lame comebacks such as "You're not even a movie!"), George W.
List of Late Night with Conan O'Brien sketches | Syncro-Vox
Another unorthodox method used in the film was the low-angle shots facing upwards, thus allowing ceilings to be shown in the background of several scenes. Every set was built with a ceiling which broke with studio convention, and many were constructed of fabric that concealed microphones. Welles felt that the camera should show what the eye sees, and that it was a bad theatrical convention to pretend that there was no ceiling—"a big lie in order to get all those terrible lights up there," he said. He became fascinated with the look of low angles, which made even dull interiors look interesting.
Citizen Kane | Cinematography
An extensively used technique in "" was an enhancement of this principle, which could be used in moving shots. Portions of sets were mounted on movable platforms which would move precisely according to the movement of the camera, so that the optical illusion would be preserved at all times for the duration of the shot. The same techniques were used in the Harry Potter movies to make the character Hagrid look like a giant. Props around Harry and his friends are of normal size, while seemingly identical props placed around Hagrid are in fact smaller.
Forced perspective | In motion
In the late films (that is, those from "Late Spring" on), the director "will use walls, screens, or doors to block off the sides of the frame so that people walk into a central depth," thus maintaining focus on the human figure without any motion of the camera. The filmmaker would paradoxically retain his static compositions even when a character was shown walking or riding, by moving the camera with a dolly at the precise speed at which the actor or actors moved. He would drive his devoted cameraman, Yuharu Atsuta, to tears by insisting that actors and technicians count their steps precisely during a tracking shot so that the movements of actors and camera could be synchronized.
Late Spring | Static camera
Frequent collaborators also include: Victor Argo (6), Harvey Keitel (6), Harry Northup (6), Murray Moston (5), Illeana Douglas (4), J. C. MacKenzie (4), Joe Pesci (4), Frank Vincent (3), Barry Primus (3), and Verna Bloom (3). Others who have appeared in multiple Scorsese films include Daniel Day-Lewis, who had become very reclusive to the Hollywood scene, Alec Baldwin, Willem Dafoe, Ben Kingsley, Jude Law, Dick Miller, Liam Neeson, Emily Mortimer, John C. Reilly, David Carradine, Barbara Hershey, Kevin Corrigan, Jake Hoffman, Frank Sivero, Ray Winstone and Nick Nolte. Before their deaths, Scorsese's parents, Charles Scorsese and Catherine Scorsese, appeared in bit parts, walk-ons or supporting roles, such as in "Goodfellas".
Martin Scorsese | Frequent collaborators
Figueroa had set up a shot for "Nazarín" near the valley of the Popocatépetl: "It was during this shoot that I scandalized Gabriel Figueroa, who had prepared for me an aesthetically irreproachable framing, with the Popocatépetl in the background and the inevitable white clouds. I simply turned the camera to frame a banal scene that seemed to me more real, more proximate. I have never liked refabricated cinematographic beauty, which very often makes one forget what the film wants to tell, and which personally, does not move me." Actress Catherine Deneuve has provided another anecdote illustrating this aspect of Buñuel's style: while shooting "Tristana", he had told her frequently of the distaste he felt for the "touristy" side of Toledo, where the film was made, so she teased him about one crane shot that brought out the beauty of the surrounding landscape, to which Buñuel responded by re-shooting the entire scene from a dolly with no background whatsoever, all the while inveighing against the "obviously" beautiful.
Filmmaking technique of Luis Buñuel | Mise-en-scène
Ray, in his own words, had been subconsciously paying a tribute to [[Jean Renoir]] throughout his whole creative career, who had influenced him the most. He had also acknowledged [[De Sica]], whom he thought to have represented [[Italian Neorealism]] best, having taught him the cramming of cinematic details into a single shot, and utilising amateur actors and actresses. He has admitted to have learnt the craft of cinema from Old Hollywood Masters such as [[John Ford]], [[Billy Wilder]] and [[Ernst Lubitsch]]. He had deep respect and admiration for his contemporaries [[Akira Kurosawa]] and [[Ingmar Bergman]], whom he considered giants. Among others, he learnt the use of [[Freeze-frame shot|freeze frame shots]] from [[Truffaut]] and [[jump cuts]] and dispensasion of [[fades]] and [[wikt:dissolve|dissolve]]s from [[Godard]].
Satyajit Ray | Filmmaking style and influences
Martin Charles Scorsese (, ; born November 17, 1942) is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history. Scorsese's body of work explores themes such as Italian-American identity, Catholic concepts of guilt and redemption, faith, machismo, crime and tribalism. Many of his films are known for their depiction of violence, and the liberal use of profanity and rock music. In 1990, he founded The Film Foundation, a nonprofit organization dedicated to film preservation, in 2007 he founded the World Cinema Foundation and in 2017, he introduced the African Film Heritage Project.
Martin Scorsese | Introduction
Scorsese wanted to depict the film's violence realistically, "cold, unfeeling and horrible. Almost incidental." However, he had to remove 10 frames of blood to ensure an R rating from the MPAA. With a budget of $25 million, "Goodfellas" was Scorsese's most expensive film to that point but still only a medium-sized budget by Hollywood standards. It was also the first time he was obliged by Warner Bros. to preview the film. It was shown twice in California, and a lot of audiences were "agitated" by Henry's last day as a wise guy sequence. Scorsese argued that that was the point of the scene.
Goodfellas | Post-production
Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta, calling it a kamikaze method of film-making. The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's "Sight & Sound" magazine. It received eight Oscar nominations, including Best Picture, Best Actor for Robert De Niro and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to Robert Redford for "Ordinary People". From this work onwards, Scorsese's films are always labeled as "A Martin Scorsese Picture" on promotional material.
Martin Scorsese | 1980s
Slow-motion is frequently used in his films to increase suspense.
Brian De Palma | Camera shots
In a later group of short film loops such as "Soft Palate" (2010) and "Whistle Stop" (2014), Arnold seems to discover psychoanalytic underbellies in the most popular form of post-war family entertainment, animation, and its most iconic characters such as Mickey Mouse (using two of Mickey's shorts, one of them "Mickey's Delayed Date"), Tom And Jerry, Daffy Duck ("Draftee Daffy") and Goofy ("How To Play Golf").
Martin Arnold (filmmaker) | Later works
He has been a major critical leader and intellectual supporter of the New American Cinema avant-garde movement. Four main techniques that Sitney identified for structural film are: fixed camera position; flicker effect; re-photography off the screen; and loop printing. These techniques were implemented by experimental filmmakers in the 1960s to create cinema "in which the shape of the whole film is pre-determined and simplified".
P. Adams Sitney | Life
Tim Burton, a graduate from CalArts in southern california, was well aware of the stop motion techniques available to him. CalArts, founded by Walt Disney, in 1961 was innovating computer applications of armatures and other forms of computer designs. A popular example of stop motion are Tim Burton movies, his animated ones of course. “Nightmare before Christmas”, “Corpse Bride”, “Coraline”, etc. A lot goes into making a stop motion film with the quality of a Tim Burton one. Everything you see on screen was made by someone in the crew. The set was built, the puppets were hand made and every single frame was an individual picture taken.
Armature (computer animation) | Tim Burton: Armature Influence
James Robbins "Bob" Gardiner (March 19, 1951 – April 21, 2005) was a multi-talented artist, painter, cartoonist, animator, holographer, musician, storyteller and comedy writer, who invented the stop-motion 3-D clay animation technique that Will Vinton would later market as Claymation although Bob preferred the term "Sculptimation" for his frame-by-frame method of sculpting plasticine clay characters and sets. "Closed Mondays" was preserved by the Academy Film Archive in 2012.
Bob Gardiner (animator) | Introduction
Another more complicated variation on stop motion is go motion, co-developed by Phil Tippett and first used on the films "The Empire Strikes Back" (1980), "Dragonslayer" (1981), and the "RoboCop" films. Go motion involved programming a computer to move parts of a model slightly during each exposure of each frame of film, combined with traditional hand manipulation of the model in between frames, to produce a more realistic motion blurring effect. Tippett also used the process extensively in his 1984 short film "Prehistoric Beast", a 10 minutes long sequence depicting a herbivorous dinosaur ("Monoclonius"), being chased by a carnivorous one ("Tyrannosaurus").
Stop motion | Go motion
Bagge's signature elastic, kinetic art style is a product of his love for 1940s Warner Brothers cartoons (especially those directed by Bob Clampett). Bagge has said that he "always wanted to capture that sense of movement and exaggeration in a static format. In retrospect this sounds like a futile thing to attempt, but I think I wound up pulling it off better than I ever thought I would."
Peter Bagge | Art style
When Parker and Alexeieff returned to Paris, they made a number of advertising films. Alexeieff invented a technique called Totalization of Illusory Solids or simply Totalization. This process involves filming a moving object at long exposures to capture the trace of the path of motion. The resulting image gives the appearance of a solid object. For example, the path of a pendulum filmed in this fashion would appear to be a solid semicircle. This technique gave their advertisements a unique look. Alexeieff and Parker also continued to make films using the pin screen. In 1962, they used it to make the prologue to Orson Welles' film adaptation of Franz Kafka's novel "The Trial".
Alexandre Alexeieff | Later life
Starewicz finished the first feature stop motion film "Le Roman de Renard (The Tale of the Fox)" in 1930, but problems with its soundtrack delayed its release. In 1937 it was released with a German soundtrack and in 1941 with its French soundtrack. Hungarian-American filmmaker George Pal developed his own stop motion technique of replacing wooden dolls (or parts of them) with similar figures displaying changed poses and/or expressions. He called it Pal-Doll and used it for his Puppetoons films since 1932. The particular replacement animation method itself also became better known as puppetoon. In Europe he mainly worked on promotional films for companies such as Philips.
Stop motion | 1930s and 1940s
Both Margaret Salinger and Maynard characterized the author as a devoted film buff. According to Margaret, his favorite movies included "Gigi" (1958), "The Lady Vanishes" (1938), "The 39 Steps" (1935; Phoebe's favorite movie in "The Catcher in the Rye"), and the comedies of W.C. Fields, Laurel and Hardy, and the Marx Brothers. Predating VCRs, Salinger had an extensive collection of classic movies from the 1940s in 16 mm prints. Maynard wrote that "he loves movies, not films", and Margaret Salinger argued that her father's "worldview is, essentially, a product of the movies of his day. To my father, all Spanish speakers are Puerto Rican washerwomen, or the toothless, grinning-gypsy types in a Marx Brothers movie." Lillian Ross, a staff writer for "The New Yorker" and longtime friend of Salinger's, wrote following his death, "Salinger loved movies, and he was more fun than anyone to discuss them with.
J. D. Salinger | Later publicity
For his crew, Scorsese frequently worked with editors Marcia Lucas and Thelma Schoonmaker, cinematographers Michael Ballhaus, Robert Richardson, Michael Chapman and Rodrigo Prieto, screenwriters Paul Schrader, Mardik Martin, Jay Cocks, Terrence Winter, John Logan and Steven Zaillian, costume designer Sandy Powell, production designers Dante Ferretti and Bob Shaw, music producer Robbie Robertson, and composers Howard Shore and Elmer Bernstein. Schoonmaker, Richardson, Powell, and Ferretti have each won Academy Awards in their respective categories on collaborations with Scorsese. Elaine and Saul Bass, the latter being Hitchcock's frequent title designer, designed the opening credits for "Goodfellas", "The Age of Innocence", "Casino" and "Cape Fear".
Martin Scorsese | Frequent collaborators
The technique has been used in many forms of media. The most common form of still motion now exists as Adobe Flash or Gif animation banners on website advertisements.
Still motion | History
After being sawed in half, the legs would suddenly get up and start running away, prompting Eck to jump off the table and start chasing his legs around the stage, screaming, "Come back!" "I want my legs back!" Sometimes he even chased the legs into the audience. The subsequent reaction was amazing – people would scream and sometimes even flee the theater in terror. As Eck described it, "The men were more frightened than the women – the women couldn't move because the men were walking across their laps, headed for the exit." The act provided the perfect jolt by frightening people at first but then caused just as much laughter and applause.
Johnny Eck | Famous illusion
One of his television production innovations was to change the perspective of the camera. Instead of the normal camera angles, raise the miniatures to camera height and place the human being as the unusual shot above the set. Suddenly, the person became the giant. Using a tight cover-shot and a loose close-up seemed to violate the newly established rules of television but it worked perfectly in creating the sense of a large giant. This countered the "Godzilla" effect where viewers watched a full size monster walk around a miniature set. He always kept the giant character somewhere in the shot to emotionally reassure his preschool audience and to minimize any jarring effect.
Bob Homme | Television production innovation
Framings or pans, which are usually led by the movement of a character, are pre-set here: regardless of whether this character stays in the frame or not.
Jean-Claude Mocik | Research
Before the advent of chronophotography in 1878, a small number of picture sequences were photographed with subjects in separate poses. These can now be regarded as a form of stop motion or pixilation, but very few results were meant to be animated. In 1849, Joseph Plateau published a note about improvements for his Fantascope (a.k.a. phénakisticope). A new translucent variation had improved picture quality and could be viewed with both eyes, by several people at the same time. Plateau stated that the illusion could be advanced even further with an idea communicated to him by Charles Wheatstone: a combination of the fantascope and Wheatstone's stereoscope.
Stop motion | 1849 to 1895: Before film
Sam and Phil Feldman, the producer, saw it and said, 'You've got the job – and, as a matter of fact, we'll use that kind of thing.'" The episode of "Felony Squad" was "My Mommy Got Lost." At that time, slow motion cameras were not commonly used for television work. Lombardo used the laborious trick of stretching time by repeating the individual frames of film two or three times, which required that there be a film splice at every frame. There are typically 24 frames of film exposed each second by standard motion picture cameras, so after tripling Lombardo had 72 frames per second.
Lou Lombardo (filmmaker) | Connection to "The Felony Squad"
Luis Martinetti, Contortionist is an 1894 short film produced by the Edison Manufacturing Company. The film, which runs 12.5 seconds, consists of a contortionist act performed by Luis Martinetti of the Martinetti Brothers trapeze act. Martinetti wears tiger-striped tights and performs contortionist poses on a pair of trapeze rings. The film was shot on October 11, 1894 at the Edison Black Maria studio in West Orange, New Jersey. The film is preserved by the Academy of Motion Picture Arts and Sciences, and was released on the 2000 DVD box set "Treasures from American Film Archives", which was compiled by the National Film Preservation Foundation.
Luis Martinetti, Contortionist | Introduction
It is estimated that Balabushka produced between 1,000 and 1,200 cues during his lifetime. However, by the mid-1960s, forged Balabushka cues started circulating in the market, as he was already recognized as the premier cue maker of the era, referred to as "the Stradivarius of cuemakers". Balabushka and his cues achieved much wider recognition after being prominently featured in Martin Scorsese's 1986 film, "The Color of Money" (the sequel to the classic 1961 film "The Hustler"). In the film, Tom Cruise’s character, Vincent Lauria, is presented with a beautiful cue by Paul Newman's character, Fast Eddie Felson. Vincent takes the cue, his reverence obvious, and whispers "A Balabushka..." After this, Balabushka's name became associated by the general public with highly valued and rare cues.
George Balabushka | Prominence
Slow motion is used widely in action films for dramatic effect, as well as the famous bullet-dodging effect, popularized by "The Matrix". Formally, this effect is referred to as and is a process whereby the capture frame rate of the camera changes over time. For example, if in the course of 10 seconds of capture, the capture frame rate is adjusted from 60 frames per second to 24 frames per second, when played back at the standard film rate of 24 frames per second, a unique time-manipulation effect is achieved. For example, someone pushing a door open and walking out into the street would appear to start off in slow motion, but in a few seconds later within the same shot the person would appear to walk in "realtime" (everyday speed).
Slow motion | In action films
Pal went on to produce several live-action special effects-laden feature films. Stop motion animation reached the height of its popularity during the 1950s. The exploding popularity of science fiction films led to an exponential development in the field of special effects, and George Pal became the producer of several popular special effects-laden films. Meanwhile, Ray Harryhausen's work on such films as "Earth vs. the Flying Saucers, The Seventh Voyage of Sinbad", and "The Beast from 20,000 Fathoms" drew in large crowds and encouraged the development of "realistic" special effects in films. These effects used many of the same techniques as cel animation, but still the two media did not often come together.
Golden age of American animation | Stop motion and special effects
The process was refined and popularized by the German cinematographer Eugen Schüfftan while he was working on the movie "Metropolis" (1927), although there is evidence that other film-makers were using similar techniques earlier than this. The movie's director, Fritz Lang, wanted to insert the actors into shots of miniatures of skyscrapers and other buildings, so Schüfftan used a specially made mirror to create the illusion of actors interacting with huge, realistic-looking sets. Schüfftan placed a plate of glass at a 45-degree angle between the camera and the miniature buildings. He used the camera's viewfinder to trace an outline of the area into which the actors would later be inserted onto the glass.
Schüfftan process | Introduction
Part of the film's reputation lies in its influence on director Martin Scorsese, who cites it as the one that has influenced his approach to filmmaking the most. Scorsese praises its "economy of style" and compares its ability to communicate ideas through cinematic "shorthand" to the work of Jean-Luc Godard and Robert Bresson. In the September–October 1978 issue of Film Comment, Scorsese included the film in his list of Guilty Pleasures. In addition to the aforementioned ideas, he specifically pointed out the scene showing Claude getting in shape and how it influenced a similar sequence with Robert De Niro in Taxi Driver.
Murder by Contract | Influence and reputation
Pat O'Mara, the key grip during production, installed several 2x1 and 2x2 blackout panels and frames that were retrofitted with small albeit strong magnets. During a scene when and actor or actresses stood under a fluorescent light, a panel or a frame was placed over the fixture, subsequently diffusing light onto their faces. "If somebody was walking through the office in a wide shot, I just turned the overhead lights on. But if Don was talking to someone at his desk and the office was the backdrop, I turned all the lights on and then selectively removed some; then, I brought the key around with Kino Flo Image 80s through 4-by-8 frames of 250 or 216, or sourced my key with a larger Fresnel through the window."
Smoke Gets in Your Eyes (Mad Men) | Filming
In one installation, this was placed at the top of a tall building, referencing one of the film's main plot points. In "Through a looking glass" (1999), Gordon created a double-projection work around the climactic 71-second scene in Martin Scorsese’s film "Taxi Driver" (1976), in which the main character addresses the camera; the screens are arranged so that the character seems to be addressing himself. At first, the 71-second loops are in sync, but they get progressively out and then progressively back with each repetition of the whole, hourlong program. Originally conceived as a site-specific video projection for Gagosian Gallery in Chelsea, "Play Dead; Real Time" (2003) consists of two videos projected on two large screens showing a circus elephant named Minnie ponderously performing for an off-screen trainer in the empty, spacious, white-walled gallery room.
Douglas Gordon | Work
The Farnsworth "Image Dissector" did not suffer from image "stick" of the type Vidicons exhibit, and so related special image converter tubes might be used to capture short frame sequences at very high speed. The mechanical shutter, invented by Pat Keller, et al., at China Lake in 1979 (), helped freeze the action and eliminate ghosting. This was a mechanical shutter similar to the one used in high-speed film cameras—a disk with a wedge removed. The opening was synchronized to the frame rate, and the size of the opening was proportional to the integration or shutter time. By making the opening very small, the motion could be stopped.
High-speed photography | Video
In "Fast, Cheap & Out of Control", Morris uses a camera technique he invented which allows the interview subject to maintain eye contact with the interviewer, while also looking directly into the camera, seemingly making eye contact with the audience. The invention is called the Interrotron which Morris uses in a number of his other films. This invention, according to Morris, alters interviews in the sense that, "no longer is it the interviewer, the camera, and the subject; with the Interrotron, the conversation is between the camera/interviewer and the subject." Morris uses the four main subjects to narrate the film while displaying more artistic freedom through visual mechanisms.
Fast, Cheap &amp; Out of Control | Style
While the new technique of montage and its proponents like Kuleshov and Eisenstein had begun to change the landscape of Soviet film, Vertov's Kino-Eye found popularity in their universality. Jay Leyda writes: "While most films produced at that time approached revolutionary subject-matter with attitudes strongly influenced by the cheapest theatrical and adventure-film traditions, both in selection and in method, Vertov's films dared to treat the present and, through the present, the future, with an approach as revolutionary as the material he treated." In fact, Kino-Eye was based more fundamentally on the techniques of the newsreel than on montage or any entertainment-filmmaking process.
Kino-Eye | History
Due to his unrivalled popularity that continued many years after his death, random bit scenes were added to numerous films that showed random gestures or shots of him walking by the side during fight scenes. Attempts were made to bring in impostors who tried to imitate his style and mannerisms, enabling several artists from the field of mimicry to show up on the big screen. But these experiments failed miserably, and proved especially ineffective in fight and stunt scenes. Then, directors and producers started a search for new actors to replace him. This movement led to debuts of actors who resembled Jayan in physical appearance (e.g.
Jayan | Imposter Movement
Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects. Championed by influential film critic Pauline Kael, "Mean Streets" was a breakthrough for Scorsese, De Niro, and Keitel. By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale (though the majority of "Mean Streets" was shot in Los Angeles), rapid-fire editing and a soundtrack with contemporary music. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller and early Jean-Luc Godard.
Martin Scorsese | 1970s
More than half of all films made before 1950 have been lost, and a mere 10% of those produced in the US prior to 1929 survive. Even more recent films are deteriorating. Because of the risk of deterioration and color fading as films age, Martin Scorsese "began his film preservation crusade in 1980", educating both the industry and the public about the problem. In 1990, Scorsese created The Film Foundation together with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford and Steven Spielberg, who all sat on the foundation's original board of directors.
The Film Foundation | Background
Filmed live at the La Brea Stage in Hollywood in six takes and edited down to five and a half minutes, the live frames were then traced using a "video rotoscope" and then converted by hand into animation. This particular combination of rotoscoping and pencil test, originally developed for Ralph Bakshi's "American Pop", was considered innovative at the time, and assisted in winning Lyon Lamb a 1980 Academy Award for Scientific and Technical Achievement.
Tom Waits for No One | Introduction
The most common type of visual gag is based on multiple interpretations of a series of events. This type is used in the 1935 Alfred Hitchcock film "The 39 Steps". Lead actor Robert Donat was kidnapping actress Madeleine Carroll and they were handcuffed. When they checked into an inn, the innkeeper assumed that they were passionate lovers because of the handcuffs. The film used dialogue that could be interpreted both ways. Another visual gag is a switched image, often at the beginning of a film. A subsequent view of the scene shows something not viewed before. Switched movement may be the gag, such as Charlie Chaplin in "The Pawnshop".
Visual gag | Types
The technique of using a group of still cameras to freeze motion occurred before the invention of cinema itself with preliminary work by Etienne Jules Marey on chronophotography, later experimented by Eadweard Muybridge. In "Sallie Gardner at a Gallop" (1878), Muybridge analyzed the motion of a galloping horse by using a line of cameras to photograph the animal as it ran past. Eadweard Muybridge used still cameras placed along a racetrack, and each camera was actuated by a taut string stretched across the track; as the horse galloped past, the camera shutters snapped, taking one frame at a time. The original intent was to settle a debate Leland Stanford had engaged in, as to whether all four of the animal's legs would leave the ground when galloping.
Bullet time | History
In his use of such sources, Bauer usually selects key images from the film and reworks them as graphically rendered stills. Shown in an elliptical sequence, these series adopt cinematic editing effects that require the spectator to piece together the narrative in their mind, while also tapping into the spectator’s collective consciousness, in a process that “explores the way popular culture constructs its myths and symbols”. A similar effect is achieved through Bauer's practice of culling images from historical photographs. These can range from intimate portrait shots (Martin Heidegger in the work "Die Grosse Erwartung von M.H."), to school-photograph-like group portraits, and images of famous historical figures such as Pope Benedict XVI or Goebbels.
Marc Bauer | Subject matter
A Personal Journey with Martin Scorsese Through American Movies is a 1995 British documentary film of 225 minutes in length, presented by Martin Scorsese and produced by the British Film Institute. In the film Martin Scorsese examines a selection of his favorite American films grouped according to four different types of directors: the director as storyteller; the director as an illusionist such as D.W. Griffith and F. W. Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on; the director as a smuggler such as filmmakers Douglas Sirk, Samuel Fuller, and Vincente Minnelli, who used to hide subversive messages in their films; and the director as an iconoclast, those filmmakers attacking social conventionalism such as Charles Chaplin, Erich von Stroheim, Orson Welles, Elia Kazan, Nicholas Ray, Stanley Kubrick, Arthur Penn, and Sam Peckinpah.
A Personal Journey with Martin Scorsese Through American Movies | Introduction
"Memories" makes use of various types of media including direct documentary footage shot, still photos, archive and newsreel footage, clips of Hollywood films, and recorded speeches by Fidel Castro and John F. Kennedy, to create a seemingly disarticulated film language that is in direct contrast to the straightforward Hollywood style.
Tomás Gutiérrez Alea | Most popular works
An advanced use of the diorama effect in a motion picture was a process developed by Clark James, dubbed Smallgantics, for "Harrowdown Hill", a music video for Thom Yorke of Radiohead. The project was produced at Bent Image Lab in July 2006 and directed by filmmaker Chel White. In this instance, the false diorama effect was achieved digitally using helicopter footage of full-size vernal and urban landscapes that was broken down into separate planes. It involves hand creating as many as eight planes of z-buffering over live-action footage, one frame at a time, resulting in an animated black and white matte (filmmaking) sequence.
Miniature faking | Digital techniques for motion pictures
Musger invented the slow motion technique using a mirrored drum as a synchronizing mechanism. The device he used was patented in 1904 and was first presented in Graz, Styria in 1907 using a projector made by K. Löffler, owner of a cinema.
August Musger | Invention
The 1956 Associated British-Pathe fantasy/science-fiction release "The Door in the Wall" (dir. Glenn Alvey, screenplay by Alvey and H.G. Wells) can be seen as a primitive forerunner of Chapman's technique. Using what it announced as “The Dynamic Frame - in which the shape and size of the picture change according to the dramatic needs of the story", the film displayed, however, neither movement of image panels nor multiplicity or division of images. Chapman felt “it was clear that its failure was creative, not technical” and decided against advice to employ this matting technique when making a film for the Telephone Association Pavilion at Expo 67.
Multi-dynamic image technique | Background
During the 1950s, Shamroy filmed most of Fox's big pictures. Of all his films, he was most proud of "The Snows of Kilimanjaro" (1952). Despite the title, almost all of "Snows" was shot in the studio. A few establishing shots of the real mountain were undertaken by Charles G. Clarke. "The Robe" (1953) was the first film to be shot using the Cinemascope process. The widescreen aspect ratio was an almost unparalleled challenge for Shamroy. While he helped many directors at Fox in the 1950s to adapt to the requirements of Cinemascope, Shamroy never really liked the new process. In an interview with Charles Higham, Shamroy exclaimed: "But those widescreen 'revolutions'; oh my God! You got a stage play again, you put pictures back to the earliest sound day...But though it wrecked the art of film for a decade, widescreen saved the picture business." Despite his reservations about Cinemascope, he became an industry pioneer in the 1950s/60s rush to develop new film formats.
Leon Shamroy | Later career
Hooper also uses uncommon framing techniques to emphasise story; in "John Adams", he wanted to imply American independence seemed unlikely during the Revolutionary War, so he used "a very rough camera style—almost all hand held, wide lenses close to the actors, lots of movement, many cameras shooting at once so there was often not a settled master "point of view", and lots of unmatching dutch tilts so the horizon lines of the frame were often being thrown off." The America-set scenes were contrasted by the scenes set in France, in which more traditional filming techniques were employed to evoke a feel of entrenched values.
Tom Hooper | Directing style
Scorsese also developed an admiration for neorealist cinema at this time. He recounted its influence in a documentary on Italian neorealism, and commented on how "Bicycle Thieves", "Rome, Open City" and especially "Paisà" inspired him and influenced his view or portrayal of his Sicilian roots. In his documentary, "Il Mio Viaggio in Italia" ("My Voyage to Italy"), Scorsese noted that the Sicilian episode of Roberto Rossellini's "Paisà", which he first saw on television with his relatives who were themselves Sicilian immigrants, had a significant impact on his life. He acknowledges owing a great debt to the French New Wave and has stated that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not." He has also cited filmmakers including Satyajit Ray, Ingmar Bergman, Michelangelo Antonioni, and Federico Fellini as major influences on his career.
Martin Scorsese | Early life
made an assassination attempt on then-president Ronald Reagan. He subsequently blamed his act on his obsession with Jodie Foster's "Taxi Driver" character (in the film, De Niro's character, Travis Bickle, makes an assassination attempt on a senator).
Martin Scorsese | 1970s
A classic vaudeville visual gag was for two actors to mirror each other's actions around a prop. Visual gags were continued into silent films and are considered a hallmark of the genre. In silent films, the actors in the mirror bit performed in silence with no music playing. Comedians including Charlie Chaplin, Buster Keaton, Harold Lloyd and the Marx Brothers often used visual humour because the technology used to record voices in film (and play it back in a synchronized presentation) did not yet exist. Often the differences between people are part of the comic duos, especially thin and fat actors are used such as Abbott and Costello and Laurel and Hardy.
Visual gag | History
Their hands make delicate little mincing gestures and their strangely thin, elongated feet take a 90-degree turn at the toes as they step forward. Whether they’re average Joes or headhunters, Martin’s people share the same physique: a tottering tower of obloids. Martin puts the bodies of these characters through every kind of permutation, treating them as much like gadgets as the squirting flowers and joy buzzers that populate his gags: glass eyes pop out from a pat on the back; heads are steamrollered into manhole-cover shapes. All of this accompanied by a Dadaist panoply of sound effects found nowhere else: shtoink! shklorp! fwoba-dap! It’s unlikely Samuel Beckett was aware of Don Martin, but had he been he might have recognized a kindred spirit.
Don Martin (cartoonist) | Style and technique
Slow motion (commonly abbreviated as slo-mo or slow-mo) is an effect in film-making whereby time appears to be slowed down. It was invented by the Austrian priest August Musger in the early 20th century. This can be accomplished through the use of high-speed cameras and then playing the footage produced by such cameras at a normal rate like 30 fps, or in post production through the use of software add-ons such as Twixtor. Typically this style is achieved when each film frame is captured at a rate much faster than it will be played back. When replayed at normal speed, time appears to be moving more slowly.
Slow motion | Introduction
At a ceremony in Paris, France, on January 5, 2005, Martin Scorsese was awarded the French Legion of Honour in recognition of his contribution to cinema. On February 8, 2006, at the 48th Annual Grammy Awards, Scorsese was awarded the Grammy Award for Best Long Form Music Video for "No Direction Home". In 2007, Scorsese was listed among "Time" magazine's 100 Most Influential People in The World. In August 2007, Scorsese was named the second-greatest director of all time in a poll by "Total Film" magazine, in front of Steven Spielberg and behind Alfred Hitchcock. In 2007, Scorsese was honored by the National Italian American Foundation (N.I.A.F.) at the nonprofit's thirty-second Anniversary Gala.
Martin Scorsese | Legacy
Although he admired Godard's "revolutionary" early phase, the later phase totally felt like "alien" to him. He deeply adored his peer [[Michelangelo Antonioni]], but hated his [[Blow-Up]], which he considered having "very little inner movement". He also considered [[Stanley Kubrick]] a "superb technician". Although Ray has stated to have had very little influence from [[Sergei Eisenstein]], films like [[Pather Panchali]], [[Aparajito]], [[Charulata]] and [[Sadgati]] contains scenes which show striking use of [[montage (filmmaking)|montage]]. A picture of Eisenstein still hangs in his drawing room. The [[narrative structure]] of Ray's films bear strong resemblance to [[musical forms]] such as [[sonata]], [[fugue]] and [[rondo]].
Satyajit Ray | Filmmaking style and influences
Robert Brownjohn's work on two James Bond title sequences, "From Russia with Love" and "Goldfinger", is probably his most widely known achievement. In these he used the technique of projecting moving footage onto the bodies of models and filming the results. The idea of filming projections is one gleaned from the Bauhaus and was used by László Maholy-Nagy in his early constructivist films of the 1920s. The combination of this artistic technique with the style and glamour of the 1960s typify Brownjohn's work. The use of wit and risqué humour, for example the deliberate lining up of a projected shot of a golf putt so that the ball appears to roll down gold painted model Margaret Nolan's cleavage, are also classic Brownjohn devices.
Robert Brownjohn | Movie title sequences
In his introduction to the film's DVD, released in 2005, Scorsese explains that he intended the film as a break from the gritty realism for which he had become famous, and sees it as an homage to the musical films of Classical Hollywood. For this reason, he designed the film's sets and storyline to be deliberately artificial-looking. He acknowledges that it is an experiment that did not please everyone.
New York, New York (1977 film) | Box office
Most early filmmakers—such as Thomas Edison, Auguste and Louis Lumière and Georges Méliès—tended not to use close-ups and preferred to frame their subjects in long shots, similar to the stage. Film historians disagree as to which filmmaker first used a close-up. One of the best claims is for George Albert Smith in Hove, who used medium close-ups in films as early as 1898 and by 1900 was incorporating extreme close-ups in films such as "As Seen Through a Telescope" and "Grandma's Reading Glass". In 1901, James Williamson, also working in Hove, made perhaps the most extreme close-up of all in "The Big Swallow", when his character approaches the camera and appears to swallow it.
Close-up | History of the close-up