Genelde filmlerden sonra çıkan yazılara bakıyorum belki bir tanıdık çıkar veya bir Türk de yer almıştır diye.
Bir Türk filminde tüm emeği geçenleri yazmışlar ama şoförün ismini almamışlar, Atıyorum soyadını hatırlayamadığımız Şoför İsmet Abi demişler.
Holywood filmlerinde her şey kayıt altında ve herkesin ücreti tam ve eksiksiz ödendiği için mutlaka ondan sorumlu kişi kimlik vergi numarası vs alıyordur ve isim kaybetme olmuyordur diye tahmin ediyorum. O yazılar okunsun diye de arada yazı sonrası sahneler koyuyorlar. İster istemez Holywood'dan tedirgin oluyor insan.
Continuity Departman da ilginç ve bana zor gelen bir yer. Sonradan milyonlarca kişi izliyor ve hataları af etmiyor.
Borsada da hatta hayatın bir çok alanında dikkati çeken hatalar olabiliyor bence.
https://help.imdb.com/article/contri...elpart_nav_40#
Victoris Sullivan Matrix filminde continuity supervisor olarak çalışmış. Güzel bir röportajı vardı kaldırtmış.
https://www.imdb.com/name/nm0838394/?ref_=ttfc_fc_cr508
Google cache de duruyor ama yakında oradan da kalkar.
http://webcache.googleusercontent.co...trip=1&vwsrc=0
Interview with Victoria Sullivan (Continuity) from The Matrix (1999)
February 14, 2012 Paul Martin Official Interviews, The Matrix 0
Archival interview with Victoria Sullivan from the official Matrix website. She worked on Continuity on The Matrix and as a script supervisor on The Matrix Reloaded, The Matrix Revolutions and The Chronicles of Narnia: The Voyage of the Dawn Treader.
MATRIX: What do you do for ‘The Matrix’?
VICTORIA: Continuity. I am the editor’s eyes when he is on set, matching action so the shots will cut together when we go into the editing room.
MATRIX: How do you go about doing that, aside from being on set and seeing all the shots? How do you go about tracking everything?
VICTORIA: The fool proof method is to set it up first, to know the angles that you are going to do, to know when the director will want to cut in, so that everybody knows what they need to repeat.
MATRIX: Do you have your own system?
VICTORIA: I think that you do end up having your own system. In a big film you work with a team, it would be impossible to keep track of it all by yourself, that is why small films are really hard because you do have to keep track of everything; the bigger the film the better the team. If you keep good communication open with the make-up and wardrobe people and cast it is easier to make it simple. So you don’t have to say that you smoked a cigarette on the third word, you put your coffee cup down on the sixth word and you turned your head on the eighth word, you can’t do that because nobody can perform with that in their brain.
MATRIX: I would imagine the higher the caliber of the actor the more in tune they are with what they have done already.
VICTORIA: It is a double edged sword actually. The higher caliber actor, maybe one time in ten won’t match their action, but you can’t set it up for the higher caliber actor, it is all on their terms. They know their craft very well and perform their actions as part of their performance, so you can say no, that was your right hand, or, you turned clockwise, not anti-clockwise, and usually they will say thanks, but you have to pick your moment. It is a very political job, and difficult not to be a nag. You have to be able to get the details right without being seen to be too pedantic.
MATRIX: Have there been any particularly difficult days on the Matrix set?
VICTORIA: Every day [laughs]. The truth is: no, this is a very controlled set, but just from the nature of the film, being a special effects film, it is very very bitsy.
MATRIX: They are shooting a lot of film for green screen. Does this make it harder for continuity?
VICTORIA: That can be easier because it is so planned. Action scenes are easier because they are like a choreographed dance, they won’t change their action. If they are striking with a hand, it is a natural movement and they have choreographed it so that the next movement is turning your back, and that will always happen. There is nothing worse for continuity than a dinner party with people sitting around a table eating. You don’t want to sit there and count how many bites someone takes on what word, it is really up to the actor to do something about that, but you can tell when someone is conscious of their action. Basically what you want is a flowing rhythm. Experienced actors have usually been in a difficult situation before and won’t get themselves in that situation again.
.... devamı sitede.
Originally Posted by KOÇ
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