On Directing Film 英文原版 rb mobi 在线 下载 lit txt 网盘 pdf

From a Pulitzer Prize-winning playwright comes invaluable insights and practical instructions on the art of film directing. Mamet looks at every aspect of directing--from script to cutting room--and draws from a wide variety of sources to make his points.

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David Mamet's numerous plays include Oleanna, Glengarry Glen Ross (winner of the Pulitzer Prize and the New York Drama Critics' Circle Award), American Buffalo, Speed-the-Plow, Boston Marriage, November, Race and The Anarchist. He wrote the screenplays for such films as The Verdict, The Untouchables and Wag the Dog, and has twice been nominated for an Academy Award. He has written and directed ten films, including Homicide, The Spanish Prisoner, State and Main, House of Games, Spartan and Redbelt. In addition, he wrote the novels The Village, The Old Religion, Wilson and many books of nonfiction, including Bambi vs. Godzilla: On the Nature, Purpose and Practice of the Movie Business; Theatre; Three Uses of the Knife: On the Nature and Purpose of Drama and the New York Times bestseller The Secret Knowledge: On the Dismantling of American Culture. His HBO film Phil Spector, starring Al Pacino and Helen Mirren, aired in 2013 and earned him two Emmy Award nominations for Outstanding Writing and Outstanding Directing. He was co-creator and executive producer of the CBS television show The Unit and is a founding member of the Atlantic Theater Company.

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如果一个导演先了解该场戏的意义是什么，然后再开始导戏，他必然能够同时站在作者以及观众的立场来思考事情。因为如果导演在一开始就找来美丽的或画的如实景般巨细靡遗的布景。他可能会被迫去整合整个布景到剧情的必然演进。而且，由于这种被迫的情况，他会为了努力将布景纳入剧情，而变得陷入其中，伤害了剧本的整体性。

这样的概念与海明威的说法是一致的：故事写出来后，把所有的精彩对白拿掉，再看看剩下的还算不算一个故事。

依我作为一个导演和编剧的经验是：故事能不能感人，要根据那个作者能删掉的比例而定。

我想只需教会学生一件事：教他们了解将不相关的镜头剪接并置在一起，在观众心底制造出故事进展的技巧。

电影的机制其实与梦的机制是一样的，因为梦是电影最终的面目，不是吗？

梦里的恐怖与美丽都是来自生命中一些早先琐碎且不相关的事件的连接所制造出来的。它们不但毫不连贯，而且在第一眼看到这些并置的影响时，大部分的人都认为它们毫无意义。然而，只要透过启发式的分析，就会发觉这是个最高级也是最简单的组织次序，而且，也因此事最富有深意的。

编剧不应该解释剧情，他最重要的事是说这个故事，给观众惊奇，让他们印象深刻。

如果你发现剧本某个部分不用叙述文句就无法拍，这个部分一定是不重要的（也就是说，对观众而言是不重要的）：观众需要的不是资料而是戏剧。那么谁才需要这些资料呢？这类可怕的叙述文句几乎寻在于所有美国的电影剧本里。

重点不是“故事发生在哪里？”而是“这个故事要谈的是什么？”这正是每部电影不一样的地方。

书籍介绍

From a Pulitzer Prize-winning playwright comes invaluable insights and practical instructions on the art of film directing. Mamet looks at every aspect of directing--from script to cutting room--and draws from a wide variety of sources to make his points.