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    the process of actually discovering what
    the film is for me is the journey of
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    making the film the key process is
    getting out there on the location and
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    shooting the film and it's during that
    but I really discover what the film is
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    and that is a collaboration of a very
    involved in organic kind which is not
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    just about the actors but about the
    cinematographer the designers the sound
    man the weight of the editor and
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    everybody else but in order to do that
    each film is preceded by what these days
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    is usually arounds not about six months
    of doing the kind of work that I would
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    elicit Lee referring to which
    principally involves the actors that of
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    course it involves the other people too
    because obviously we have to prepare the
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    film that we're going to shoot and we
    all have to be when we get to day one of
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    the shooting which is the only time but
    it really matters because frankly if
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    you're making a movie nothing matters
    except what happens in front of the
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    camera when it turns over that the
    period before that that the beginning of
    that period and there is no structure at
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    all there is no five or three act
    structure or anything else there is a
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    feeling a concept a notion possibilities
    but the time we get to the point before
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    the shoot there is a structure a broad
    structure which I I do put on very
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    briefly on paper in a very schematic way
    but I think it what I have to say is
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    that all art in every medium is a
    synthesis of improvisation and order all
    artists no matter when you write or
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    paint or sculpt or make music or write
    poems or whatever you do all artists
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    will have to a greater or lesser extent
    and sense of what they're going to do
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    and perhaps not it may be down there I
    love and up there
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    in other words completely intuitive not
    not in any way cerebral or intellectual
    or rational it may be a strong sense of
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    something that inevitably has to be done
    or something that really has to be
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    fleshed out or discovered or dug up from
    some depth just by the sheer act of
    investigating Picasso paraphrasing
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    Picasso said words the effect that if
    you know what you're going to do before
    you do it what is the point of doing it
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    it is not extraordinary for artists to
    either a not know what it's going to be
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    until you start to investigate and then
    you interact with the material or be to
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    think they know what it's going to be
    and it turns out to move in another
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    direction or see to have a clearer
    notion which drives them into the theme
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    but then they're able to make
    discoveries so all of that really is an
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    explanation to you the fact that I can
    and do have in the case of some films in
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    the including naked and happy-go-lucky
    as we've said have no more than a kind
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    of sense of feeling of the spiritual
    thing but then I start to you know work
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    with this actor with Sally Hawkins in
    the case of naked with David Thewlis and
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    with others and start to build
    characters and start to this resonates
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    with ideas and possibilities and
    juxtapositions of things I want to deal
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    with and things that I mean for example
    happy-go-lucky is at one level quite
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    clearly a reflection on education there
    are various teachers and good bad and
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    indifferent that's a very V poppy and
    her comrades are very good teachers
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    there's a very good flamenco teacher who
    however has doesn't know the first one
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    of the first rule
    of teaching if you leave your personal
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    emotional baggage outside the classroom
    and then there's this driving instructor
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    called Scott brilliantly played by the
    Marsan who is full of all kinds of
    quantification and stuff about teaching
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    but in fact understands nothing about
    teaching it's always a lousy teacher and
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    but it didn't occur to me but to
    investigate teaching until I came to it
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    through creating the characters and it
    isn't that suddenly out of a blue light
    or our education that's something I've
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    never thought of I'm going to make this
    film about it it's something that I'm
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    obviously like everybody you know it's
    an ongoing proc you patient I've been on
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    the end of the education system I teach
    time two times substantially and of
    course I I've raised a couple of now
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    adult kids and so I've been preoccupied
    with education from that point of view
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    so you see kind of again as we artists
    and people of various kinds of create
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    things do you kind of have ongoing
    preoccupations when you have very
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    specific things that you set about
Title:
Sandbox
Description:

You can use this Sandbox to try out things with the Amara tool.

The video that is primarily streaming here is http://www.youtube.com/watch?v=ZU2kyr9jRkg , which is completely blank. But you can go to the URLs tab to add the URL of another video and make it primary.

Please remember to download your subtitles if you want to keep them, as they will get deleted - and the streaming URL reverted to the blank video if you changed it - after a week or two,

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Video Language:
English
Team:
Captions Requested
Duration:
01:46:39
Claude Almansi edited English subtitles for Sandbox
Claude Almansi edited English subtitles for Sandbox
Claude Almansi edited English subtitles for Sandbox
Claude Almansi edited English subtitles for Sandbox
Claude Almansi edited English subtitles for Sandbox
koma edited English subtitles for Sandbox
koma edited English subtitles for Sandbox
Claude Almansi edited English subtitles for Sandbox
Show all
  • Revision 1 = provided subtitles for Lecture 1.2 of Prof. Scott Plous' Social Psychology course

  • Revision 1 = provided subtitles for Lecture 1.2 of Prof. Scott Plous' Social Psychology course

  • Revision 1 = provided subtitles for Lecture 1.2 of Prof. Scott Plous' Social Psychology course

English subtitles

Incomplete

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