![]() It’s a clichéd analogy-and yet there are few filmmakers to whom it better applies than the Italian maverick Federico Fellini, who would often film to his composer Nino Rota’s music and who went so far as to draw a sustained consonance between himself and the conductor (Balduin Bass) at the center of his 1978 television film, Orchestra Rehearsal. They create “visual music” by orchestrating actors in precise movements around sets, summoning crescendos and decrescendos in both rhythm and emotion, using the camera like a baton to punctuate or downplay certain effects. And when I lower it the sound fades.”įilm directors, when they’re good enough to inspire hyperbole, have often been compared to conductors. The sound rises like a sea wave when I lift my arm and move it in the air like a wing. The baton draws the orchestra out of silence and then back to it. At the start signal I realize that my baton is connected with the orchestra. The thing that hit me most was the complete silence. I remember the first time I stepped on a rostrum.
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