More filmmaking wisdom from Frank Darabont: “The man who is known for spending multiple sessions actually recording his commentary tracks returns with more well prepared information on how he threw away all of his trademark film technique out for a much looser style seen in ‘The Mist.’ Hear it all here.” —filmschoolthrucommentaries: Frank Darabont on filmmaking – Part 3 & 4
In the two previous parts: “The man behind the camera of the classic ‘Shawshank Redemption’ illuminates us noobs on the craft of filmmaking. He talks about such topics as directing, narration, sound design, set design, camera technique amongst other topics. Oh, and did you ever wonder about who Allen Greene was and why Frank Darabont dedicated Shawshank Redemption to him? Listen below and find out.” —Frank Darabont on filmmaking
“If I’m any example, it took me nine years of starving, struggling and honing my craft before I started making my living as a writer. Those were lean years, too, believe me. But in the nine years since then, I haven’t stopped working. I consider myself very lucky, but I also believe you can make your own luck by applying the elbow grease of determination and effort, by nurturing a persistent belief in yourself no matter how bleak your chances seem (this philosophy lurks at the very heart of ‘The Shawshank Redemption,’ and is one of the main reasons I fell in love with King’s story). My standard joke — actually, I’m fairly serious — is that there are potentially more talented writers and directors than I working in shoe stores and Burger Kings across the nation; the difference is I was willing to put in the nine years of effort and they weren’t. More to the point, it took Thomas Edison a thousand attempts before he got that damn light bulb to turn on. Imagine if he’d gotten discouraged enough to quit after only nine hundred and ninety nine tries. The message here is simple, and John F. Kennedy said it best: “We choose to go to the moon not because it is easy, but because it is hard.” Rough translation? If you have a dream, get up off your ass and start putting one foot in front of the other. Me, I’ll take Kennedy and Edison over Beavis and Butt-head any old day.” —Memo from the Trenches by Frank Darabont
“How bad do you want it? Frank Darabont went through it all, can you? Go and do likewise gents.” —Frank Darabont on a career in film
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Conceptual photographer Nicolas Bruno has suffered from sleep paralysis since he was 15.
For What’s it’s WorthWhether they are active or long dormant, mines speak of a combination of sacrifice and gain. Their features are crude, unsightly scars on the landscape – unlikely feats of hard labour and specialised engineering, constructed to extract value from the earth but also exacting a price.
These images combine photography and computer generated elements in an effort to visualise the output of a mine. The CGI objects represent a scale model of the materials removed from the mine, a solid mass occupying a scene which shows the ground from which it was extracted. By doing so, the intention is to create a kind of visualisation of the merits and shortfalls of mining in South Africa, an industry that has shaped the history and economy of the country so radically.
This is the first in a broader series of images, dealing with the extraction of precious metals and stones, possibly coal as well. For now, however, the project begins with the first mining operations in South Africa, removing copper from the arid Namaqualand region.
The country’s first ever commercial mine, the Blue Mine in Springbok, began operating in 1852. More mines opened soon after as copper deposits were discovered in the surrounding areas. This, in turn, boosted the development of small towns in a relatively remote area of the country, as workers settled nearby. By 2007, however, most of these mines had run their course and production had stopped almost completely. This presents an uncertain future for the towns and people of the region.