Noah Baumbach on Jules & Jim – “It’s like the filmmaker is excited to show her to you in the way Jules and Jim are excited to see her. You’d get a different feeling off it if he showed it to you in one take. He doesn’t do this all the time. He does let scenes play out, too. But he is able to make all these disparate elements feel part of the same movie,” he adds of the frenetic camera pans and cuts, freeze-frames and square irises Truffaut uses. “[The filmmaking] is so committed in every possible way that he can cut to stock footage of Paris in a different aspect ratio, and because we’ve already seen the slides that Albert showed them, it still feels like the same language.”
Elliott Gould on throwing his lunch at Robert Altman and Saturday Night Live’s Five-Timers Club – By the way, that scene… later on, Sylvester Stallone said to me that he was there that day. He was an extra. And he said to me, “I don’t admit that I was an extra in many pictures, but I admit that I was an extra in M*A*S*H.” I thought that was sort of touching. But I told Bob Altman, and he said, “No! I do not accept that! I do not accept that Sylvester Stallone was an extra in my movie!” [Laughs.] God, Robert Altman… You’ll bring me to tears. I mean, he was like my father. I just loved him, and there was so much other work, more work that we talked about and would’ve loved to have done together.
Sitcom director Mark Cendrowski – Four-camera directing requires the director to cut the show while taping. Because the live studio audience is often watching the action on monitors, an initial sloppy video feed can dilute their response.
