![]() “All roads lead to the contemporary art market,” a prospective emerging art dealer told me casually over dinner the other week, while explaining the rules of supply and demand. Prior to this, simply shopping out of town was enough to enable a smart dealer to double the resale price, as most collectors wouldn’t know the original purchase price.īut these days every art world cloud has a lining fabricated by some up-and-coming artist. Now, with the stroke of a key, anyone can find out how much all the Pablo Picassos in the world sold for last month. In particular, gallerists in the business of buying and selling previously owned work aren’t doing so well now that even the rich have figured out how to plug search terms into Artnet‘s auction results database. Some dealers have failed to benefit from the market transparency brought on by the Internet. ![]() This week I talk about contemporary art and the art market. When you break the shot down into smaller, bite- sized pieces, coordinating smaller stunt elements individually and then combining them into a larger stunt can deliver impressive results.My latest piece is up at The L Magazine. You can hide a plethora of sins in a wide shot-compositing practical and CGI/VFX becomes more achievable. ![]() If I am planning a bigger stunt, I generally go wider with the camera. A stunt as simple as falling to the floor, for instance, can be felt by the audience in so many different ways dependent on how you capture it.īigger stunts are, as they say, like eating an elephant it’s a lot easier to do one bite at a time, especially if you do not have multiple cameras rolling. Precise camera placement makes the difference between simply capturing the stunt and selling it. Staying close to the action- sometimes being right in the midst of the action-is a handy indie technique that allows for a smaller stunt to look bigger. As you know, a firm grasp of the editing style of a scene (or the entire film) is key in dictating things like camera angle and lens choice. When directing stunts, my focus first and foremost is the edit. Work around them or blend the camera into their performances, as you would with an actor.Īctor Chris Klein in Game of Aces Keep Your Edit in Mind Stunt performers will throw themselves under a bus for you, they will jump off a bridge for you-literally and figuratively! Let them unleash their talents-i t will be the best thing you ever do. These men and women are awesome, so draw on their experience to figure things out beyond your own ideas. So work closely with your stunt coordinator and performers. Trust Your CollaboratorsĪs a director, my preconceived idea of how a stunt may work in camera may be completely different to the reality. You need to have a plan A, B and C already thought-out to counter the limitations that may arise (for instance, when your two days allotted to shoot a stunt becomes one). Budgets expand and contract throughout production, and inevitably your stunts will as well. I often have to force myself to be flexible: I always want to go big, but inevitably what I want and what I can get will be two very different things. Bigger is Not Betterĭelivering an well-executed stunt on a small scale is just as, if not more, effective than delivering a large stunt that is executed and delivered poorly. This concept forms a baseline from which you can springboard, allowing you to rework that stunt as you move through the pre-production process and the shoot itself. A stunt should be capable of delivering the story element you need, on whatever scale works. When writing stunts, as I did for my WWII thriller Game of Aces, I focus solely on what the stunt is achieving in relation to the progression of the story. Breaking down misconceptions about stunts begins in the writing process.
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