Notes on Camera Movement (1)
I think I know the reason why
Producers tend to make him cry
Inevitably they demand
Some stationary set-ups, and
A shot that does not call for tracks
Is agony for poor dear Max,
Who, separated from his dolly,
Is wrapped in deepest melancholy.
Once, when they took away his crane,
I thought he’d never smile again…
[James Mason über Max Ophüls, zitiert in Raymond Durgnat: Films and Feelings, London: Faber and Faber 1967, S. 55-56.]
19.11.2012 17:10
Ein ziemlich dicker Hund ist, »dolly« auf »melancholy« zu reimen.
Ich werde mir jetzt tagelang deutsche Entsprechungen ausdenken müssen.