There’s a lot the past can reveal. In the arts world, looking at the past glories of a particular artform can be extremely revealing, showing us where we once excelled and what special things we may have lost.
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Alfred Hitchcock is one of the most celebrated directors in cinema history and for good reason. His unique way of building suspense and his borderline-obsessive focus on perfecting every scene saw him become a master of the horror genre.
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Wouldn’t it be great if people really liked - and really wanted - originality? If asked, most would claim they preferred original and creative movies, games and music. Stale rehashes of old ideas are boring. When faced with a choice couched in these terms, original versus boring, how could anyone opt for the latter?
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Gaining experience in the film industry is such an important step in establishing yourself as a filmmaker. Most industries, of course, require experience to gain entry level, but with the creative industries, especially the film industry, it can be an uphill struggle, with its huge popularity and so few places available.
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Finding the right actors to star in your film is a delicate process - involving auditions, interviews, and sifting through dozens of headshots.
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Students studying for film degrees at university have increased significantly over the last few years, as have many other students studying for degree courses that focus on the arts.
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The one-point perspective is pure geometric perfection; a mathematically precise use of the camera which has been used in painting since the Renaissance, with Raphael and Leonardo Da Vinci as its main proponents.
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In spite of the upsurge in computer graphics since the early 1990’s, conventional (if such a word applies) makeup and effects still hold a solid place in film and video. CG is something of a double-edged (or even multi-edged) sword. Whilst it has undoubtedly replaced practical effects in many instances, reducing work for old-schoolers, it has also turned projects that were once unfilmable (for reasons of technical complexity or budget) into ones that were/are eminently viable.
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Possibly the absolute antithesis of getting a “proper job” would be something akin to film extra, or “supporting artist” work (for most of us at least). It’s an interesting ‘everyman’ route into the film industry, without necessitating painstaking training as an actor, proper - and without even having the desperate (and often unrequited) love for the genre that drives such masochistic, aspiring professionals.
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