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Szalka

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    What would you ask Emma?

    in Emma General Chat

    Posted

    What would you ask Emma if you meet her on the streets or doing interview with her? What was be the main question to start conversation with her. ? 

     

    I know that most of the people first question was be like that:

     

    agagagagagagagahagahag...... ( you look at her like hungry dog see bone for the first time ) ...... ( drop dead)

     

     

    enjoy 

          

     

    Colonia Dignidad

    in Emma's Movie Roles

    Posted · Edited by Szalka

    My superpower is Polish. I live in UK 8 years and I still don't learn proper british accent :) . Is kinda hard. So I know that feeling :D

     

    but for me her American accent is pretty good. Of course that probable depends of the region .

    Emma to be in a Beauty and the Best adaptation?

    in Emma's Movie Roles

    Posted

    Welcome in Movie world.

    This can be a way why the beauty is still no much alive: 

     

    Developent- From idea to signing of contracts

    Preproduction- All the trchnical matters that can be sattle before shooting.

    Production- The actual schooting of a film.

    Postproduction- The technical portion of filmmaking that turns raw film into finished product.

    Marketing- The process of getting the finished product to its audience.

     

     

    Development

    Development includes all stages from the germ of the idea to the hiring of the talent, and includes fundraising, screenplay drafts, and initial location scouting.

    Ethel, I Have an Idea: The Story

    Typically, a feature film's genesis is the story. The story can come from a variety of places. Sometimes it is the director's own idea. The stars of Good Will Hunting (1997), Matt Damon and Ben Affleck, also wrote the piece. Sometimes studios will vie for the rights to an already-famous book. (The battle for the rights to the phenomenally successful children's book Harry Potter comes to mind.) Some stories come from contemporary headlines, like Boys Don't Cry (1999), which was based on the life of a woman killed in Nebraska for passing as a man.

    One favorite Hollywood gambit is the remake. When in doubt, redo an earlier successful filmf someone tries to market an original screenplay, but is not directing it herself, she will probably try to acquire an agent. Agents try to maintain contacts in the film industry so that they can get into studio literary departments to hawk their wares. Often, as a door-opener, the whole script is not submitted. Rather, a 10-page treatment of the script is offered around the studios. If interest remains, the whole script is submitted. The script can go to a director or producer, who then tries to sell the idea to a studio who funds the project; or it can go to the studio first, who then assembles producer and director itself. Still another route is for the agent to actually buy a story and hire someone to do a screenplay. After this point, the original writer may be out, or may be retained to work on the screenplay.

    Magic and Mud

     

    The next phase involves secret negotiations, insider trading, savage industry back stabbing, and much calling in of favors. This is the negotiating phase, when it's determined which creative team does which film. Hollywood negotiations are murder. Stars scramble to catch plum roles, directors scrabble to land plum films, producers scrabble for plum funding sources, fruit wranglers scrabble to land plums, and so on. The budget is also decided during this negotiation process, and distribution and advertising are considered. During this process, the producer is expected to bring the project together.

     

    Postproduction

     

    After the dust has settled, the business of making a film actually begins. Preproduction is the stage at which war plans are formed: The rest of the crew and cast are hired, the shooting schedule is planned, and so on. Again, the producer is very active here. The director is now playing an increasingly large role in determining how the film is going to be shot.

    Storyboarding

     

    Either during or after the negotiations, others—generally the director and writer—are figuring out how to get from script to shooting script. The process can be tighter or looser. Some directors try to leave room for on-site improvisation. Others don't. Alfred Hitchcock, for example, had more or less entirely planned out the shooting of his films before the first camera setup.

    The storyboard is an essential part of this process. It is the narrative of the film in pictures, a sort of flow chart showing how one shot derives from the former shot and gets to the next. It can be more or less detailed, perhaps providing cues for sound (dialogue and/or music) and for character motion.

    Scripting  

    The screenplay will probably have gone through a dozen drafts by this point. (This is why there are sometimes so many writers in the credits.)

    Location, Location, Location  

    During or after the storyboard stage, the filmmakers consider the best locations to shoot. In the studio or on location? If on location, which city? If San Francisco, which locales? Does the director want to shoot famous landmarks (as in just about any Hitchcock film), or does the filmmaker want a location one block away from the tourist traps (Jim Jarmusch's Stranger Than Paradise [1984], for example, which takes place a couple blocks off of Memphis's Beale Street, on a very seedy street)? At some point, the location scout is sent out to figure out the best places to set up camp.

    Technical Concerns

    Preproduction is also the moment at which many of the various creative technicians begin work: costume designers, production designers, modelers, sound designer, and so on. Sets are now constructed. The music director will begin working on a score and incidental music for the film, though this job may still be going on straight through postproduction, because it is intimately tied to the sound "mixing" process. The special effects department must begin creating effects before, alongside, and after the principal photography has taken place. These days that department is often a digital effects crew.

    Production

    Okay, this is the part that budding thespians dream about: the moment when the movie is actually filmed. As it turns out, this part can be incredibly boring for actors, who are sometimes surprised to see how exciting their movie can be, when their only memory was of sitting around and waiting. A lot.

    Actually, this is the director's big scene. With any luck, her studio and producer have bowed out of the process at this point and remain simply presences who provide material and solve administrative problems.

     

    The Breakdown Script

    After the storyboard and shooting script, the breakdown script is probably the most important document the director has on hand. Generally assembled by the assistant director, it lists all the equipment, props, and other paraphernalia necessary for shooting each scene in the film. It helps the director figure out how to schedule the shooting schedule in advance, and to be completely prepared as each scene comes up, so that she can stay within the shooting schedule.

    Principal and Other Photography

    Really another name for the whole course of production itself, principal photography is the actual process of shooting the major sequences. It is called principal photography because, after the roughly assembled film is examined, the filmmakers may decide that ancillary photography may have to be done.

    Before, after, or at the same time the principal action is being filmed, the second unit is filming establishing and other accompanying shots, perhaps with doubles for the principal actors.

    This is the moment in which seemingly minor but key decisions are made moment to moment about how to shoot a sequence, scene, or shot. We believe that the tautest drama is behind—not in front of—the camera. Where does the lighting go? How are actors supposed to move in relation to the camera, the set, and each other? How intimate or grand is the set supposed to be? What last-minute additions will not later spoil the continuity?

    Production ends when the director says, "That's a wrap. Go home."

    Postproduction

    Postproduction takes place in the time from "That's a wrap" to "delivery" of the finished film print. It includes the various kinds of editing—in sound and celluloid—we discuss in the more technical chapters.

    Editing diting

    Film Editing details the technical process of editing. Here we are just going to mention that the director and editor do not normally decide on the final cut. Probably the best-known example of the studio's prerogative is Blade Runner (1982). The studio decided that the story was too difficult to follow, so they added a film-noirish voice-over narrative by Deckard, the futuristic detective (Harrison Ford). The studio also tacked on a kind of happy ending after the more ambiguous one created by director Ridley Scott. We know this because the "director's cut" of Blade Runner was released on laser disc a few years ago, so that fans of the film could decide which they liked best. Since then, there has been an avalanche of "director's cut" video releases, often simply proving that the director and the studio are equally insipid and clueless.

    Independent filmmakers, of course, have much more control over the final cut.

    Sound Mix

    After the music is composed and recorded, the postproduction dubbing is finished, and the special sound effects are created, the sound mixer assembles all these tracks together so that they sound right when projected to an audience. The sound mixer cleans up the various tracks, making absolutely sure there is no audible ambient noise (unless such noise is part of the plan). The crowd noise decreases in volume as the romantic couple speaks to each other on a crowded street. The music swells and peaks as the space cowboys defeat the bad guys.

    To Market, to Market, to Market We Go

    This stage of filmmaking is the one that people consider the least, but that is precisely as important as the others.

    Part of the marketing process is testing the film with audiences, to make any changes that might be necessary. The most famous method is the sneak preview, in which, after viewing a film, audiences will be asked questions about how much they enjoyed the film. If the audience response is lukewarm or negative, the film goes back to the editing room, or even back for additional shooting.

    Hopefully, the producer has lined up a distributor in the preproduction stage. If not then, this is often the last moment at which distribution can be obtained, when a film is freshly made. It is the unfortunate fate for most independent films to end up on the shelf without ever having had a real shot at a large—or even a small—audience.


     

    UN Women HeForShe Campaign Event

    in Emma Images and Media

    Posted

    This is whole Em Speech"

     

    "Today, we are launching a campaign called HeForShe. I am reaching out to

    you before we need your help. We want to end gender inequality and to do

    this, we need everyone involved. This is the first campaign of its kind at the

    UN. We want to try to galvanize as many men and boys as possible to be

    advocates for change and we don't just want to talk about it. We want to try

    and make sure that it's tangible."

    "I was appointed as Goodwill Ambassador for U.N. Women six months ago

    and the more I've spoken about feminism, the more I have realized that

    fighting for women's rights has too often become synonymous with manhating.

    If there is one thing I know for certain, it is that this has to stop."

    "for the record, feminism, by definition, is the belief that men and women

    should have equal rights and opportunities. It is the theory of the political,

    economic and social equality of the sexes. I started questioning gender-based

    assumptions a long time ago."

    "When I was 8, I was confused about being called 'bossy' because I wanted to

    direct the plays that we would put on for our parents. But the boys were not.

    When at 14, I started to be sexualized by certain elements of the media, when

    at 15, my girlfriends started dropping out of their beloved sports teams,

    because they didn't want to appear 'muscle-y,' when at 18, my males friends

    were unable to express their feelings, I decided that I was a feminist. And this

    seems uncomplicated to me. But my recent research has shown me that

    feminism has become an unpopular word."

    "Women are choosing not to identify as feminists. Apparently, I am among the

    ranks of women whose expressions are seen as too strong, 'too aggressive,'

    isolating and anti-men, unattractive, even. Why has the word become such an

    uncomfortable one?"

    "I am from Britain and I think it is right that I am paid the same as my male

    counterparts. I think it is right that I should be able to make decisions about

    my own body, I think [applause break] ... I think it is right that women be

    involved on my behalf in the policies and the decisions that affect my life. I

    think it is right that socially, I am afforded the same respect as men."

    "But sadly, I can say that there is no one country in the world where all

    women can expect to receive these rights. No country in the world can yet say

    that they have achieved gender equality. These rights, I consider to be human

    rights but I am one of the lucky ones, my life is a sheer privilege because my

    parents didn't love me less because I was born a daughter. My school did not

    limit me because I was a girl. My mentors didn't assume that I would go less

    far because I might give birth to a child one day. These influencers are the

    gender equality ambassadors that made me who I am today."

    "They may not know it, but they are the inadvertent feminists who are

    changing the world today. We need more of those and if you still hate the

    word, it is not the word that is important. It's the idea and the ambition behind

    it. Because not all women have received the same rights that I have. In fact,

    statistically, very few have been."

    "In 1997, Hillary Clinton made a famous speech in Beijing about women's

    rights. Sadly, many of the things that she wanted to change are still true

    today. But what stood out for me the most was that less than 30 percent of the

    audience were male. How can we affect change in the world when only half of

    it is invited or feel welcome to participate in the conversation?"

    "Men, I would like to take this opportunity to extend your formal

    invitation." [Applause break] "Gender equality is your issue too. Because to

    date, I've seen my father's role as a parent being valued les by society despite

    my needing his presence, as a child, as much as my mother's. I've seen

    young men suffering from mental illness, unable to ask for help, for fear it

    would make them less of a men—or less of a man. In fact, in the U.K., suicide

    is the biggest killer of men, between 20 to 49, eclipsing road accidents, cancer

    and coronary heart disease. I've seen men made fragile and insecure by a

    distorted sense of what constitutes male success. Men don't have the benefits

    of equality, either."

    "We don't want to talk about men being imprisoned by gender stereotypes but

    I can see that they are. When they are free, things will change for women as a

    natural consequence. If men don't have to be aggressive, women won't be

    compelled to be submissive. If men don't need to control, women won't have

    to be controlled."

    "It is time that we all see gender as a spectrum instead of two sets of

    opposing ideals. We should stop defining each other by what we are not and

    start defining ourselves by who we are. We can all be freer and this is what

    HeForShe is about. It's about freedom. I want men to take up this mantle so

    their daughters, sisters and mothers can be free from prejudice but also so

    their sons have permission to be vulnerable and human, too and in doing so,

    be a more true and complete version of themselves."

    "You might think, 'Who is this Harry Potter girl? What is she doing at the

    U.N.?' And it's a really good question—I've been asking myself at the same

    thing. All I know is that I care about this problem and I want to make it better.

    And having seen what I've seen and given the chance, I feel my responsibility

    to say something. Statesman Edmund Burke said all that is needed for the

    forces of evil to triumph is for good men and women to do nothing."

    "In my nervousness for this speech and my moments of doubt, I've told myself

    firmly, 'If not me, who? If not now, when?' If you have similar doubts when

    opportunities are presented to you, I hope that those words will be helpful

    because the reality is, if we do nothing, it will take 75 years or for me, to be

    nearly 100, before women can expect to be paid the same as men for the

    same work—15.5 million girls will be married in the next 16 years as children

    and at current rates, it won't be until 2086 before all rural African girls can

    have a secondary education."

    "If you believe in equality, you might be one of those inadvertent feminists that

    I spoke of earlier and for this, I applaud you. We are struggling for a uniting

    word but the good news is that we have a uniting movement. It is called

    HeForShe. I am inviting you to step forward to be seen and to ask yourself, 'If

    not me, who? If not now, when?' Thank you very, very much."

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