Acting from the Ultimate Consciousness by Eric Morris

By Eric Morris

Performing from the final word attention is Eric Morris's fourth well known e-book at the artwork of performing. His prior works have confirmed him one of the best innovators on this planet of drama. His process, in response to the Stanislavsky process yet going a ways past it, starts with an exploration of realization and the instrumental wishes of the actor and expands to dozens of useful thoughts that let the actor to make use of the entire diversity of his expertise. With entire sections on characterization, rehearsing and ensemble, it is a booklet that every one level or display actors--beginning to advanced--should learn, soak up and perform.

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The scene is organized through ellipses, as medium shots of the girl’s head and shoulders on the bike, Gus’s head and shoulders in the car, the girl’s legs and bike wheel, and Gus’s car wheel are intercut ever more rapidly to suggest her pursuit. Increasingly tighter shots of the girl’s mother in the window watching her daughter’s race for life occasionally interrupt the chase, until the mother screams and closes her eyes. The last shot shows the girl sprawled on the concrete with her mangled bike beside her, the victim of a moment of impact the viewer is led to imagine but never actually sees.

While Fuller’s limited resources at Lippert certainly affected what he was able to achieve visually, the artistic freedom he enjoyed allowed him to develop the aesthetic instincts he would favor throughout the rest of his career. The Marketplace for Low-Budget Films The low-budget B picture was the bread and butter of Hollywood during the height of the studio system, produced both by major studios to maximize the use of their equipment and personnel and by smaller Poverty Row studios as their sole product.

A distribution outfit that grew out of Screen Guild Productions in 1949. Lippert released mainly sixty- to sixty-five-minute B westerns and genre pictures destined for the second half of a double bill. 1 In addition to abbreviated running times and limited budgets, Lippert films contained other qualities of B pictures made by lesser studios: no stars and shooting schedules of three or fewer weeks. With an eye toward investing in higher-budget production, Lippert was on the lookout for writers and directors who could put over a spectacular story with speed and efficiency, and he found such talent in Fuller.

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