Recording for the end of semester

Viggo Mortensen Interview :
My recording


Source : http://video.about.com/movies/Viggo-Mortensen-Appaloosa.htm

Transcript: Viggo Mortensen Interview - Appaloosa
Rebecca Murray from About.com Hollywood Movies at the Los Angeles Premiere of Appaloosa.


What's the appeal do you think now for bringing back Westerns? Why do you think audiences are accepting them now?

Viggo Mortensen: "I don't know why people keep saying this thing about bringing them back. They've made Westerns every year. They don't make as many as they used to when I was a little boy, and they don't make very many at all that are as good as this one. But this one, Appaloosa, falls squarely in the tradition of the classic Western, you know? It's beautiful. You get to see the scenery. It has it's leisurely pace, but it has a lot of drama, too, and really good characters. So I don't think they've ever gone away, they just make fewer of them. So if you're an actor and you like them, since they only make a couple a year, you've got to be lucky to get in one. I consider myself fortunate to be in this one."

Was that the appeal for this, the fact that it was a Western?

Viggo Mortensen: "Well you know as much as I like Westerns, I would never do one – even though I like horseback riding and I like the Western period – I would never do one just to do one. I want to do one if it's a good movie, a good story, and this was a great script. And with Ed Harris, you know, it's bound to be interesting ."

What's it like when you have a relationship with him as a director and as an actor?

Viggo Mortensen: "Well when we worked together on History of Violence he had already directed Pollock and proven to me anyway that he was a great director. He's very similar as a director, you know? As an actor he pays attention to every detail. He's very aware of his surroundings. It's the same that goes into being a really good director, so I wasn't surprised that he did a great job on this."

Phrasal Verbs for the Data-Base

To abide by something : This council needs to encourage people to abide by the law. (means "respecter")

to delight in something : He seems to delight in the fact that he was right. (prendre du plaisir à)

Look after something : He will look after the job “assigned” to him. (s'occuper de)


to be keen on : The governor is said to be keen on anointing a candidate (Tenir à faire quelque chose).


to long for something: Some of the cases aren’t as interesting as others and if it’s a bad weekly installment, it’s easy to long for more of the supporting characters (Désirer fortement)

to make up for something (compenser) : Some schools trying to make up for lost time.

to quarrel with (se quereller avec) : Ukraine does not want to quarrel with Russia.

to be pleased at (être content de) : Developers may be pleased at the possibility of greater exposure.

to arrive in time (à temps) : Perfect to arrive in time for that last minute birthday present or forgotten gift!

to arrive on time (à l'heure) : She failed to arrive on time for a pre-trial hearing in Plymouth District Court !

My Transcription Questions

1 - You want be able to _ on the screen depth and go.

2 - The narrator really _ you by the hand.

3 - It doesn't _ really the way you have it on your head.

4 - I can see it on 65 _ Plasma.

FINDING KEYWORDS IN MY TRANSCRIPTION

I have some words at this time :

Unfolding = expansion / development
media circus
kind of sift through
instead of having
a really fast way
to pull all

Transcription : 2 vidéos

TRANSCRIPTION OF
DAVID FINCHER INTERVIEW FOR FINAL CUT

David Fincher, the director

When you setup to make a movie, it doesn't happen exactly the way you have it in your head. There is this exploration, there is this evolution of this unfolding or revealing of the material.


Peter Mavromates, the post-production supervisor.

We're working on a feature film, about the Zodiac Killer and the media circus that surrounded that in the late 60's and early 70's, in San Francisco area.

David had wanted to shoot a movie digitally so he's shooting Zodiac with a Viper-cam. And then, we are converting the files to DVDC Pro HD for editing in Final Cut pro.


David Fincher

But in this movie, the attitude that we've taken is: “Okay, we’ve shot this setup, we have the coverage, we have the pieces that we feel that we need. And now, we need to kind of sift through and find the humanity of it.


Angus Wall, the editor.

My old mission with this movie was to think about the post-production aspect in a completely new way. Be creative, use the tools there're out there that you can just buy on a website. Or go the store, get, and use those.
Why do you have to have all the specialize equipment ? You don't !

David Fincher

I love the fact that an editor CAN come to me and say : “I have to leave now, we'll work on this tonight”, and take it on his laptop.
And by 9 o'clock of the morning, I can see it on a 65 Inch Plasma. It's a whole new world.


Angus Wall

The really tipping point for me, using Final Cut Studio was multicam. Because instead of having usually shoot one to three cameras on each setup, we're actually running 6 streams of 10-80 simultaneously which is just incredible to me !


David Fincher

You want be able to put all the screen depth and go : “Oh, he is great here and he is great here. So let's cut from these two. Oh, this is not the best place ! So you do want sort of a like a live switch. It's just a really fast way to work.

It's an interesting time in post-production. Because just like desktop publishing, we're now seeing this kind of revolution happening in film making. And I think that's what final cut studio has done very successfully.


Peter Mavromates

Ultimitally, our long term goal would be to do the all movie in how. I mean, as it is right now, if we add a couple more g- files we check, we can even do a part of our effect just here. And Angus is already previsualising a lot of the effects on Final Cut Studio in motion.

This indicative of where media, where visual story-telling, where pictures, where communication is edit.

I started collecting resumes from all of these young people production who wanted to work in post-production. Virtually, every one of them have Final Cut on their resume. So, that's clearly an indication of where the flow is.


David Fincher

What this kind of tool allows you to do is to experiment and you know... kind of quiet those questions that you might have. That makes me sleep easier, makes me go : “Okay... I’m telling the story that I wanna tell. And that, I take great words from making movies.





Sigourney Weaver Interview for “The Tale of Despereaux”


I thought it was a very good match because Gary often writes about people who don't fit in and people go their own way in “Pleasantville”, and “Big” and “Dave” and so I thought it was a really good match of talents with this adorable little mouse and this rat who is, you know, missunderstood with all the humour and the heart that Gary brings to this work. I thought it was great to bring that to Despereaux.

The narrator really takes you by the hand and brings you into all these different worlds. The world of door and the kingdom of door and the whole story about the king and his daughter which is sort of heartbreaking. And then, the whole story of the mouse called and Roscuro which is a whole other story. The narrator has to pull all these strings together and I think you have to feel like she‘s going to take care of you no matter how dark or dangerous this story gets.

Two minute talks

My short presentation in class-room was about Mullholland Dr., a David Lynch's movie.

New video for transcription

I found a new interesting video on YouTube. I want to use it for my transcription.



This video talks about the making of Zodiac, a David Fincher's film.