An experiment by director Steven Soderbergh provides a useful learning tool for storytellers in multiple mediums (as well as an exciting new way to enjoy 'Raiders of the Lost Ark')
I just started watching Soderbergh's "version." I'm loving this. But, hey, for the first time after viewing this film umpteen times, I caught a funny continuity error. Go to 39:24 and look at how the guy is holding the knife: the edge is face down. And then a second later, in a shot from Marion's perspective, we see the edge facing up. Oh well. Nobody's perfect. Sorry, Steven, for ruining your day all these decades later. But watching this in black and white is nevertheless fantastic.
We eventually come to watch some movies like we read. You don't need to digest every word. Your brain fills in the blanks because you have an inherent understanding of the language now and now what's coming next. I've seen RAIDERS at least 100 times, and every time I watch it I catch some shot or gesture or turn of phrase that I'd previously missed.
That's very good. I can't disagree with this at all. A hundred times is a lot. Gee, now I'm wondering how many times I've seen DIE HARD. (As for novels, I've read THE REMAINS OF THE DAY at least five times. There will be a sixth.)
On a directly related note, I've now seen DIAL OF DESTINY four times, three times by myself and once with my sister and her husband just this past weekend (they both loved it). In a similar fashion to what you wrote, I keep finding new things. Notice, for example, how the usually rousing Indy-to-the-rescue theme is played when Indy meets Archimedes. To quote from a piece I'm writing about the five movies (I hope to have it up on Medium in a few days; I'm still trying to figure out more to say about RAIDERS), "This moment isn't about saving the day. It's about confronting history in the flesh. Humility is required — and John Williams accentuates this sensibility beautifully." Either Mangold suggested to Williams what he wanted here, or Williams suggested the idea to Mangold. I've no idea which, but it is a beautiful touch.
"This moment isn't about saving the day. It's about confronting history in the flesh. Humility is required — and John Williams accentuates this sensibility beautifully." That's good!
Earlier this week, I inserted a reference into my new novel regarding the making-of book that first introduced me to the world of storyboarding. I still have it on my shelf, in fact, held together with tape.
Yes, I have a very good friend who's a storyboard artist. This is very much the sort of thing he does, if I recall correctly from conversations about his work. One of the natural and unfortunate shortcomings of this Substack is I can't always conveniently acknowledge every shade of every medium, such as storyboard artists. But you're certainly right!
I just started watching Soderbergh's "version." I'm loving this. But, hey, for the first time after viewing this film umpteen times, I caught a funny continuity error. Go to 39:24 and look at how the guy is holding the knife: the edge is face down. And then a second later, in a shot from Marion's perspective, we see the edge facing up. Oh well. Nobody's perfect. Sorry, Steven, for ruining your day all these decades later. But watching this in black and white is nevertheless fantastic.
What a catch!
Again, it's so bizarre that I only saw this for the first time today. I guess the black and white version brought it to my attention somehow. Dunno.
We eventually come to watch some movies like we read. You don't need to digest every word. Your brain fills in the blanks because you have an inherent understanding of the language now and now what's coming next. I've seen RAIDERS at least 100 times, and every time I watch it I catch some shot or gesture or turn of phrase that I'd previously missed.
That's very good. I can't disagree with this at all. A hundred times is a lot. Gee, now I'm wondering how many times I've seen DIE HARD. (As for novels, I've read THE REMAINS OF THE DAY at least five times. There will be a sixth.)
On a directly related note, I've now seen DIAL OF DESTINY four times, three times by myself and once with my sister and her husband just this past weekend (they both loved it). In a similar fashion to what you wrote, I keep finding new things. Notice, for example, how the usually rousing Indy-to-the-rescue theme is played when Indy meets Archimedes. To quote from a piece I'm writing about the five movies (I hope to have it up on Medium in a few days; I'm still trying to figure out more to say about RAIDERS), "This moment isn't about saving the day. It's about confronting history in the flesh. Humility is required — and John Williams accentuates this sensibility beautifully." Either Mangold suggested to Williams what he wanted here, or Williams suggested the idea to Mangold. I've no idea which, but it is a beautiful touch.
"This moment isn't about saving the day. It's about confronting history in the flesh. Humility is required — and John Williams accentuates this sensibility beautifully." That's good!
Thanks!
Sure, Cole. Just adding to what you're saying. Storyboard is such a behind-the-scenes activity. Most moviegoers are probably not very aware of it.
Earlier this week, I inserted a reference into my new novel regarding the making-of book that first introduced me to the world of storyboarding. I still have it on my shelf, in fact, held together with tape.
Have you ever seen What's Up Tiger Lily? Woody Allen's first film...so silly, but he had a similar idea...
So, so, so very long ago...
Turning off the sound and watching the film to see it's visual composition or structure is also what storyboard artists do.
Yes, I have a very good friend who's a storyboard artist. This is very much the sort of thing he does, if I recall correctly from conversations about his work. One of the natural and unfortunate shortcomings of this Substack is I can't always conveniently acknowledge every shade of every medium, such as storyboard artists. But you're certainly right!