![]() What emerges repeatedly over the course of the book are different versions of the phrase-spoken in wonder, exhaustion, contemplation-“Just go with it, try anything”: an acceptance of the circumstances of the mo-ĭownloaded from by NATIONAL CHENGCHI UNIV user Ment, but also a leveraging of those circumstances to make a creative leap beyond the immediate problem or situation. This is not unique to Tamil cinema (although for various reasons it may have found its apotheosis there) the tension between control and spontaneity is deeply woven into the fabric of cinema. It recalls an observation that my mentor Francis Coppola made about directing: “The director is the ringmaster of a circus that is inventing itself.” Francis is the master of this kind of spontaneous invention. One example among thousands: Vito Scotti, the supporting actor playing Nazorine the baker in The Godfather, made too many sweeping hand-gestures in the first take of his scene with Marlon Brando, probably out of nervousness. The overuse of hand gestures, shorthand signature for Italians in cinema, was something that Francis was anxious to restrict throughout the film. ![]() But this shot was particularly significant because it was the first, on the first day of shooting, and if it wasn’t right it would be a bad omen for the rest of the process.
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