question: Why do artists and painters in movies always hold out their pen and focus on it?
comment: They're using the pen/brush handle/thumb as a reference for judging the size of an object, keeping it at arms length every time gives you a constant good-enough-for-art measurement.
passages: My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements that can be eliminated have been eliminated. This was pointed out to me by somebody who referred to the paintings of Rembrandt and his use of light: some elements are highlighted while others are obscured or even pushed back into the dark. And it's something that we do – we bring out elements that we want to emphasise.
   Chapman also shot a string of comedies in the late 1980s and early 1990s, such as "Ghostbusters II" and "Kindergarten Cop," and admitted that he didn’t need to alter his style very much. But he has said, “On comedies, I use a little more fill light; you tend to create a lit atmosphere where the performers can be at home, where they can move around…without having to hit a precise mark."
   To be certain of achieving the desired effects, Thalberg made sure his cinematographers were careful in their use of light and shadow. Vieira observes that "more than any other producer or any other studio, Thalberg and MGM manipulated lenses, filters, and lighting instruments to affect the viewer." As a result, he notes, "most of Thalberg's films contain moments such as these, in which cinematic technique transcends mere exposition and gives the viewer something to treasure."
   This trend has led to deep focus becoming less common in Hollywood movies. As mentioned in Bordwell's second point, master shots where two or more characters hold a conversation have gone out of fashion, lessening the need for deep focus. In a contemporary Hollywood movie a dialogue scene may consist only of tight close-ups, with the master shot abandoned. If more than one plane in the image contains narrative information, filmmakers switch focus ("rack focusing") instead of keeping both focal planes sharp. In addition, modern sets tend to have less lighting for more comfortable working conditions, and use of deep focus tends to require more light.
   There were two reasons for showing Oscar's head and shoulders within the frame during the flashback scenes, rather than letting the camera be the character's eyes. The first was that this is the way Noé usually sees himself in dreams and when recalling past events. He also thought it would be easier for the viewer to care about a character who is visible, as many point-of-view films, in his opinion, look unintentionally funny.
  
  Section::::Production.:Filming.
   Most feature films have a still photographer, who is typically required to find the best scenes to shoot photos of, using their own judgement. They are often considered a nuisance to the director, since they would ask the actors to hold a position for the shot. "Hold for stills," a request made by the photographer, has therefore been an irritant to most directors, who need to move on to creating the next scene. Although some directors, such as Cecil B. DeMille, gave special attention to stills, and would often direct the photography with the still photographer. He was especially proud of his stills, creating many large, gallery-quality prints to give to important fan magazines. "I make far more stills than any other company," he told producer Jesse Lasky. "There is greater attention given to gowns, detail, story and direction than in any picture made today."
   His dramatic and photogenic spaces have been frequently used as film, TV and photography locations, and they have also influenced film production and set design:
  
  BULLET::::- the Elrod Residence was the location for the sequence in the 1971 James Bond film "Diamonds Are Forever" in which Bond battles female assassins "Bambi" and "Thumper";
   Directors may use deep focus in only some scenes or even just some shots. Other auteurs choose to use it consistently throughout the movie, either as a stylistic choice or because they believe it represents reality better. Filmmakers such as Akira Kurosawa, Stanley Kubrick, Kenji Mizoguchi, Orson Welles, Masahiro Shinoda, Akio Jissoji, Terry Gilliam, Jean Renoir, Jacques Tati, James Wong Howe, and Gregg Toland all used deep focus as part of their signature style. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of Terry Gilliam's frequent use of it at least since "Brazil".
   Shamroy once noted: "The obtrusive camera is like a chattering person—something we can do without. It's okay for the camera to join the conversation, so to speak, but it must never dominate. It must never distract from the story. The real art of cinematography lies in the camera's ability to match the varied moods of players and story, or the pace of the scene."
   In June 2008 Director Michel Gondry was quoted in "Paste" magazine as saying "Clicking on a PES film is to open a safe and suddenly see a million ideas glittering and exploding. The only reason you close the door is to re-open it just after and discover what will pop this time."
   Many film directors of the 1960s and later adopted use of the handheld camera, techniques and cinéma vérité styles for their fiction films based on screenplays and actors. They often had actors using improvisation to get a more spontaneous quality in their talks and action. Influential examples include director John Cassavetes, who broke ground with his film "Faces".
   Albert claimed to have a form of attention deficit disorder that made the leisurely pace of editing difficult for him but benefited him while shooting. Stating that his in-the-moment ability to focus let him, "Zero in on a situation as it's happening [with his camera] and pay much closer attention and somehow anticipate what's going to happen the next moment, be ready for it and get it, the way people with normal attention spans are incapable of doing."
   This type of filmmaking was a result of filmmakers trying to retain the sense of the viewer watching a play in front of them, as opposed to just a series of pictures.
   Section::::Character.
  
  Daniel Gardner was an eccentric. He sometimes would ask his sitters to show up in his studio at five o'clock in the morning. There he would only allow the sitters to be present. In his studio Gardner had a specially constructed easel with locking shutters since he refused to allow his sitters to see the work in progress. Gardner never travelled without this special easel. If he stayed in the house of his patron to do some portraits of him and his family he would even make it a condicio sine qua non to have his proper lockable workroom.
   The colour scape was designed to have a minimum of contrast, which the director believed would create more intensity. Lighting was arranged to leave no shadows: "I want light where people can’t hide in – light without mercy." Andersson is famous for his many takes of each scene, although this time he claimed it went smoother than usual: "max. 40–50 takes and sometimes under ten!"
  
  Section::::Soundtrack.
   When I photograph I don’t do any post production to the images, either in the darkroom or digitally, because it erodes the process. So I respect the essence of these spaces.
   One notable director that frequently employs rectilinear ultra wide angle lenses in order to achieve a distinctive signature style defined by extreme perspective distortion is Terry Gilliam. Also Stanley Kubrick (in "Paths of Glory", and "Dr. Strangelove", among others) as well as Orson Welles (in "The Trial", partly "Orson Welles' London", segment "Four Clubmen"), Sam Peckinpah (in "Straw Dogs"), and Sidney Lumet (in "The Offence") have occasionally done the same in the past, though mostly in moderation, for single shots or sequences only, while Gilliam hardly ever uses any lens longer than 14mm, which has garnered lenses of that particular focal length the informal nickname ""The Gilliam"" among film-makers. Jean-Pierre Jeunet and Marc Caro, two French filmmakers influenced by Gilliam, adopted his typical wide-angle photography in their two most "Gilliamesque" features, "Delicatessen" and "The City of Lost Children". Orson Welles's "The Trial" is notable for heavily influencing Gilliam's signature style years before the American ex-patriate joined the Monty Python comedy troupe while only being a one-feature style for Welles.
   An advantage of a dedicated studio space vs. location shooting is that the "spill fill" becomes a predictable variable in the overall lighting strategies. Some studio photographers aim their dedicated fill source at a white wall behind the camera near the ceiling to intentionally create omnidirectional "wrap around" fill similar to natural skylight and eliminate the reflection "catchlight" a direct fill source will create in the eyes.
   In "Citizen Kane" (1941), cinematographer Gregg Toland and director Orson Welles used tighter apertures to create every detail of the foreground and background of the sets in sharp focus. This practice is known as deep focus. Deep focus became a popular cinematographic device from the 1940s onwards in Hollywood. Today, the trend is for more shallow focus. To change the plane of focus from one object or character to another within a shot is commonly known as a "rack focus".
   It is said that most of the editing decisions were worked out in an accountant's spreadsheet book and the pencil edit plan resembled flow charts. Chapman has said that at one point in the editing process he stood there in the room, bits of footage hanging from clips all around him. He felt crushed by the force of his vision and he was a breath away from quitting. Even at the first screening, Chapman was exhausted and unsure but as he left the room, Steve McQueen watching at the back, grabbed Chapman and told him that he was blown away by the film.
   In early 1970 Gehr was at SUNY Binghamton while Larry Gottheim was beginning to form a film department. Gottheim was impressed with Gehr's earlier short films "Morning" and "Wait", and the two became acquainted when Gottheim replaced a damaged print of one of Gehr's works. With the encouragement of Gottheim and Ken Jacobs, Gehr taught two courses there during the summer session. He had been interested in making a film that explored "the intervals between frames–activating the screen plane from frame to frame more dynamically". One day during the session, Gehr was on his way to the film department's editing rooms in a basement and thought of the hallway as an ideal place to film. A long, plain area appealed to him as a good space to "maximize the tension between representation and abstraction".
   By his college years, prior to widespread popularity of the internet, Mylne was still approaching his ballpoint pen usage as if he were the only one using them to create art, ignorant of anyone else using them.
  
  Of his choice of ballpoints as a preferred medium, Mylne credits the pen's capabilities of precision and distinct contrast.
  
  Such "technical" aspects of the medium have interested him most, in part fueling his desire "to master ballpoint photorealism".
   When the leading actor is the subject of the POV it is known as the subjective viewpoint. The audience sees events through the leading actor's eyes, as if they were experiencing the events themselves. Some films are partially or totally shot using this technique, for example the 1947 film noir "Lady in the Lake", which is shot entirely through the subjective POV of its central character in an attempt to replicate the first-person narrative style of the Raymond Chandler novel upon which the film is based.
  
  Section::::Technology.
   The same quality was observed by director and screenwriter Hobart Henley: "If something that read well in conference turns out not so good on the screen, I go to him and, like that—Henley snaps his fingers—he has a remedy. He's brilliant." Another assistant producer to Thalberg explains:
   While technical storyboards can be helpful, optically-correct storyboards may limit the director's creativity. In classic motion pictures such as Orson Welles' "Citizen Kane" and Alfred Hitchcock's "North by Northwest", the director created storyboards that were initially thought by cinematographers to be impossible to film. Such innovative and dramatic shots had "impossible" depth of field and angles where there was "no room for the camera" – at least not until creative solutions were found to achieve the ground-breaking shots that the director had envisioned.
  
  Section::::See also.
  
  BULLET::::- Filmmaking
  
  BULLET::::- Graphic organizer
  
  BULLET::::- Pre-production
  
  BULLET::::- Screenwriting
  
  BULLET::::- Script breakdown
  