Recreating Spielberg

 

 

The idea of making Steven Spielberg a character at the center of a fiction is not a new one, at least for me.

Yet in creating a fictional piece about a particularly painful part of Spielbergís life, then expanding upon it to make it and horror-drama is difficult, especially as a two-character, one-actor video.

How do you depict Spielberg?

Do you take old films of him and adapt them or do you completely gut that concept and simply act out the part?

Iíve chosen to depict Spielberg rather than use footage of him.

This is for several reasons.

An action film requires action, and I canít guarantee movements from old footage will depict what I need.

This video also requires some emotional representation and close-ups that existing films wonít have.

While -- most importantly -- this is a fiction video, designed to annoy Spielberg a little, it is a serious effort at learning film, and using the medium to create an illusion of reality.

This is, of course, my most ambitious work to date, in which I hope to use some of the film theory I have been studying.

In researching this effort, I got a copy of The Making of Jurassic Park. I had thought to green screen Spielberg out of it as a character, then changed my mind. But the film provided several other things I did not expect. A philosophy of film-making and the extent of preparation Spielberg goes to in order to create an illusion.

I also need the sound track to copy Spielbergís speech patterns, even though Iím sure he doesnít talk that way in real life.

Depicting Spielberg as a character will be difficult, but not impossible.

Iím going to the actors costume shop within the next couple of days to purchase a Spielberg-like beard since my efforts to grow one have always turned out badly.

One of the really important lessons I learned from Making of Jurassic Park was the concept of film reality. Spielberg likes to recreate the whole world, then put his actors in it. This is an approach I tried to do in a different way, seeking to create a 360 degree photograph against which my actors act.

My lessons in film theory have pointed me in a different direction, especially with Griffith and Einstein, and while Iím neither of those, the idea of suggestiveness will play a large part in my new video Ė providing, of course, that it works.

 

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