Aaron Sorkin, Dick Johnson, Josh One discussed on Filmspotting



At the facility she recalls him begging her to take him back. I'm standing at the top of the cliff looking my father five feet down holding onto a branch and I'm saying I can't come get you. You've got to stay there. It's like. Are you kidding? No human should have to do this and yet this is what humans have to do. Right at a certain point you have to stay at the top of the cliff well, I mean I think I think I can see from your reaction how that's resonating with Josh. To write, it speaks to the Johnsons gift as a filmmaker as a storyteller how she thinks in metaphor. But beyond that, right that example also shows how she thinks visually always visually like I understand that feeling she's trying to express even though it's one I can't personally relate to hasn't gone through yet but I understand exactly what she's going through or at least believe I do so clearly and powerfully because of the image that she created for us, they're just in that story it's just so fundamental to who she is obviously as a camera person. Yeah I mean she's an incredible talent and as you said at the very top camera person was just this brilliant. Abstract project, and then she comes around with this, which is you know much more personal and inventive in different ways i. it's it's hard to imagine holding those two films really in your hand at the same time as much as they are related, and so we'll be incredibly excited to see what she's able to come up with next. Yeah and as we've described it, it may be for some viewers a little bit of a painful and harrowing experience. But as we've also touched on in terms of gifts, one of the gifts to us is just dig Johnson's laugh. I, thought. Oh, man. He scarcely opens or closes a sentence without one. Yup. Yeah. He's I mean you need This man for this project to work as much as we've been praising only Kirsten for her creative vision and her capabilities, this would not work if her father was not as open honest and as you said, you know wanting to keep this connection with her as long as he can that that's really the crucial element that the movie needed unfortunately got. Keith during fray. With. From Utah, he'll do anything for me. Can you just put one arm up against the wall like, yeah that's nice. Dick Johnson is dead is available. Now on Netflix's if you see it in agree or disagree with our takes, you can email us feedback at film spotting dot net. So ageing parents have been the subject of some really strong movies find out which one listeners voted their favourite when we reveal the results of the film spotting poll next plus are overlooked tours. Marathon continues with Barbara load-ins Wahdan stay with us. Again. A. Come Josh were excited to have masterclass back on board as a film spotting sponsor, and over the past couple of months we've highlighted so many great courses they offer and the expert instructors they have whether you want to maybe improve your cooking skills may be like you josh one, improve your jump shot or maybe you're an aspiring artist filmmaker and you want to learn from Martin Scorsese or David Lynch or Verner Herzog they're all on masterclass teaching classes but this one is so appropriate to film spotting at least in the next coming weeks Aaron Sorkin also on their teaching screenwriting and thinking about Dick Johnson is dead a little bit of course as a documentary thinking about the trial. Of. The Chicago seven obviously based on real circumstances and people I've been taking this course and there's a great segment where he talks directly about the process of adapting true material into a film. He calls it the more important truth and he says, you know you're going to be lying almost constantly right? No matter how accurate or authentic you WANNA be people don't speak in dialogue. They definitely don't speak in Aaron Sorkin dialogue. Most of the time they don't live or exist within a framework of a series of scenes that form a coherent native and I love his line. He says it's the difference adapting this kind of material between a painting and a photograph and were doing painted. Nails it really well, and he has a couple of fundamental rules. He says, especially, if they're still alive, he's not going to do something that hurt someone. He's not going to alter something and have it do some kind of irreparable damage to that person or their reputation but he also says he's not going to do something that changes the fundamental truth and he tells a great anecdote about the social. Network where right after that, opening scene Zuckerberg comes back to his Harvard dorm room and has a drink or two or three and starts blogging and they found out while they were making the movie or early into it that he actually was drinking a bottle of beer. They found out the exact kind of beer that he was drinking, and of course, fincher was like it's gotta be that beer and Sorkin. Why No? In the script, it's a screwdriver and here the reasons why David Screwdriver is more cinematic inappropriate to the scene without violating any fundamental truths and it's really good and it's hard to argue at. So I really do recommend that class and so many others that are available now over at masterclass, which is an APP that successful on your phone Weber Apple, TV offering classes on a ride variety of topics like the ones we've touched on all taught by world-class Masters at the top of their fields..

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