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BBCNEWS This Cultural Life June 4, 2024 09:37:00

That one major thing that i always thought about films was, wouldn t it be great if you could have a film where the characters in the film were like real people, not like actors? and the other thing, which is of far, far less significance, or of no importance at all, is that watching westerns, you know, because of the nature of the number of frames on a length of film, the wheels on the, on a vehicle or a stagecoach would go around backwards. yes. and i used to think, sit there thinking, when i make films, they ll go round the right way. now that was from a very early age. what sort of age? 0h, little. i mean, six, seven, eight. the first big cultural influence that you ve picked, that you suggest has had a formative effect on your work, is ronald searle. illustrator, artist, best known for st trinian s, for creating st trinian s and for the molesworth books, and also contributing illustrations and drawings to so many books and magazines over the years, ....

Watching Westerns , Wouldn T , Ronald Searle , Making Work , The Illustrator , St Trinian S , Molesworth Books ,

BBCNEWS This Cultural Life June 4, 2024 09:43:00

Like the artists, like the students looking at the subject, at the model in the life drawing class the actor has got, you know, he or she is going to start to stand up and play this person they actually know, and then that person they know, and then we meld them together and the character is created. but of course, the two famous myths about what i do with actors is, one is that the actors come with ideas, and the committee informed as to what the subject, that s not the case at all. in fact, it s very it s essential that they. ..when i say to an actor, participate in this piece of work, this play or this film, we can t talk about a character, because there isn t a character. you and i are going to collaborate to create a character, and you will never know anything about the whole thing, except what your character knows. so they don t know about the other characters? not until and unless they meet them in the context of the work. ....

Life Drawing , Isn T A Character , Making Work ,

BBCNEWS This Cultural Life June 4, 2024 09:41:00

We were all sitting around. ..and had a nude model, and everybody was quietly drawing away, and i looked around the room, and i thought, what is happening in this room is something that we never experienced for one split second at the royal academy of dramatic art. really creative work is happening, everybody in the room is looking at something that s real and finding an organic, truthful way of expressing it, which we didn t do as student actors. it was all mechanical and superficial and inorganic, and therefore, dull. and that revelation, in that moment, in the life drawing class that, you know, absolutely resonated with notions that i had on the go, in a primitive form, at that point in time, that somehow you could create. ....

Split Second , Making Work , Student Actors , Life Drawing ,

BBCNEWS This Cultural Life June 4, 2024 21:49:00

And to cut a long story short, he was impossible to direct. he d say, oh, a director s just a chairman. i d say, why don t you move over there on that.? he d say, why? i could move there, i could move anywhere. and so. at this point, i d already. and we ve talked about this, i d already formulated notions about. because i wanted to write and direct and i d formulated notions about other collaborative ways of making work. and this experience, much though i felt. think the play is great and much though i was very fond of halliwell and we had a good gang of folk involved, it was a defining experience, just because i decided that this is not what i was going to do. i was not going to battle with scripts. i was going to find a way ....

Why Don T , Cut A Long Story Short , Making Work , Play For Today ,

BBCNEWS This Cultural Life June 4, 2024 21:40:00

That we never experienced for one split second at the royal academy of dramatic art. really creative work is happening, everybody in the room is looking at something that s real and finding an organic, truthful way of expressing it, which we didn t do as student actors. it was all mechanical and superficial and inorganic, and therefore, dull. and that revelation, in that moment, in the life drawing class that, you know, absolutely resonated with notions that i had on the go, in a primitive form, at that point in time, that somehow you could create. ..theatre, you could create films, in an organic way by collaborating in a way, and using rehearsal as more than just a mechanical way of interpreting what somebody had already put down on paper. and so, from what i understand, you gather a cast of actors. ....

Making Work , Split Second , Didn T , Student Actors , Life Drawing ,