Digital Filmmaking

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  • 176

  • 9780571226252

  • 1 mm

  • 14 mm

  • 159 gram


  • 19 APRIL 2007

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    Now there is no reason to prevent anybody from making a film. The technology exists, the equipment is much cheaper than it was, the post-production facilities are on a laptop computer, the entire equipment to make a film can go in a couple of cases and be carried as hand luggage on a plane. —Mike Figgis In this indispensable guide, Academy Award nominee Mike Figgis offers t Now there is no reason to prevent anybody from making a film. The technology exists, the equipment is much cheaper than it was, the post-production facilities are on a laptop computer, the entire...  Read More

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    Mike Figgis

    With his roots in experimental theater and music, it is perhaps surprising that Kenyan-born writer-director Mike Figgis started out as such a conventional filmmaker, but his dissatisfaction with the Hollywood studio system eventually led to his true calling as one of the most innovative auteurs working in contemporary cinema. After studying music in London, he became a member of Gas Board, an English rhythm-and-blues band (which also featured a pre-fame Bryan Ferry), and later went on tour for nearly a decade with an experimental theater group The People Show first as a musician, then also as an actor. Undaunted by his unsuccessful application to Londons National Film School, Figgis began writing and directing his own stage productions, visually striking works like Redheugh, Slow Fade and Animals of the City, which combined music with filmed segments and live performance. He developed Slow Fade into a one-hour piece (The House) for Britains Channel 4, capturing the attention of producer David Puttnam, for whom he wrote a treatment that would become his feature writing-directing debut, Stormy Monday (1988). Although Puttnam would pass on the project, Figgis did finally get backing for his tale set in the seamy world of Newcastle jazz clubs. The atmospheric homage to Hollywood film noir featured a score by the director, who also persuaded B.B. King to record the title track, a career first for the great bluesman. His impressive American debut, Internal Affairs (1990), was a striking portrait of police corruption featuring powerhouse performances by a creepy silver-haired Richard Gere and a seething Andy Garcia. The studio demanded control over the music and chose two composers to help execute Figgis vision, even though he had already done a temporary track to accompany the film. His follow up, Liebestraum (1991), made precious little sense--something about a 40-year-old sex scandal, corruption, and family madness--but had style to spare, and with Brit backing, he was

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