But the great thing that you see in this examination of how Hitch planned his shots is how each angle, movement, framing, lighting, everything else - is in service of telling the story. Nothing is done just to show off, the shots are often designed to put us in the shoes of the characters so that we can see the story through their eyes and feel what they feel. To help us experience the story, rather than just watch the movie. Though all of this seems technical, it's all in service of being emotional. A character can enter through a doorway (our level) or descend down an imposing stairway (this person is above us in every way, and we must wait for them). These are two different feelings from the audience and the protagonist... and Hitch was the master of making the viewer feel as if the story was happening to them. Make them feel as if they were the protagonist. And that makes us feel what the protagonist feels... identify with their problems and situations. Makes the movie seem like reality... through the use of camera angle and movement and lighting and framing.
That's what films direction IS.
Telling the story WITH THE CAMERA.
Of course, I have my own books focusing on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
Only 125,000 words!
Price: $5.99
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And....
HITCHCOCK: EXPERIMENTS IN TERROR
USA Readers click here for more info!
HITCHCOCK DID IT FIRST!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
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