The award -winning director, screenwriter and producer José Padilha did not study at the university. He learned in practice, commanding works such as the documentary “Bus 174”, the movie “Elite Troop” and the series “Narcos”.
It was not long to realize that, contrary to what many people think, the movie, whatever it is, is independent of the director in countless aspects.
“It is a legend to the idea that the director controls the movie totally. This legend exists in part because some directors are credited to ‘a’ instead of ‘directed by’,” Padilha says at Casafolha, a.
“There are 1 million variables that are involved in building a film that the director cannot control,” he says at. The budget may burst, the schedule may be delayed, it may be cloudy in a recording designed for a sunny day. “The director did not control the light in which he filmed this scene.”
And these are just a few examples of unforeseen events that can interfere with the end result. But there are all elements that depend on the other professionals involved in production. Starting from the actor and the actress.
“I do not control when the actor breathes. I do not control the facial expression, and a facial expression can change a movie, can create a magical moment. A photographer can make a camera movement slightly different from what you thought, and that can become a genius thing. “
Padilha added to other big names on the platform, such as former Minister Pedro Malan, and neuroscientist Suzana Herculano-Houzel ,.
There are already 16 exclusive streaming courses, and new content are included every month. On the 30th, for example, it will be the one, which talks about “Ironman and the overcoming of the boundaries.” , former soccer player of São Paulo, PSG and the Brazilian team.
In the course “The Art of Telling Stories”, José Padilha explains that he likes to make the most of the collaboration of all the people on his team – specially when someone brings something in which he had not thought.
That is why, for him, when he enters the movie’s mounting island, “the director has to put on the sandals of humility” and accept that the recorded scenes were not necessarily as good as it is foreseen.
Padilha recalls that he came from Daniel Rezende, the “elite troop” assembler, the solution that allowed Captain Nascimento as narrator of the story, rather than Matias, which was the original plan.
Of course, the director, in the end, is the conductor of this orchestra, or the CEO of this company. It is the director who translates the script to the screen and makes a number of fundamental choices: about cast choice, about lens type, about camera type, on camera movement, etc.
“The identity the director gave to the movie from the script is something the director has to fight to have. Now, if he is fighting for every detail of the movie, he will be crazy,” says Padilha.
Fighting for this identity, however, does not mean being the “author” of the work. “I think that, in the frying of eggs, a movie has no author,” he says. That is why he classifies as “vain credit” the credit that says “a so -and -so movie” rather than “directed by so -and -so.”
In one of his classes, reinforcing the argument, the filmmaker also states: “Deep down, the script is the soul of the movie. People think the movie’s soul is the director, but it is not. For me, the most important thing From a movie is the script “.
He explains in practical terms: “The script is what the producer uses to sell to the studio, is what the producer uses to bring the director. That’s what the executive producer will use to budget, the schedule. Everything comes of the script “.
In the course of Casafolha, Padilha also explains, among other things, how is his creative process, because he considers cinema a narrative art before being a visual art and how he deals with great actors.
Regarding this, he says, “Wagner Moura leaves nothing to be desired to Samuel L. Jackson, Gary Oldman, Michael Keaton.”
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