Inspirational Leadership

Try to obtain a result of the answer another form of knowledge gives to your needs, as a result of the experiences lived in the process of observation.

Perfect silence must reign in the room. Even in the breaks necessary for reloading the film in the projector. Woe unto him who address him at this time. If the question is asked with a low voice and doesn’t interrupt the composer when viewing, only a growl is heard instead of an answer. If, however, he is interrupted by the stridency of the question, Prokofiev looks fiercely at the one speaking, or even lets a foul word slip.

After each viewing, Prokofiev is tired, but always happy, satisfied. Perhaps because, in fact, during this time he composes the music for the seen fragment. During viewing, the composer’s fingers rhythmically drum on the arm of the armchair.

Russian director, Eisenstein, observes him, curious to find the answer to the question even his clever chauffer asked. He predicts that Prokofiev, drumming with his fingers, chants the structure through which this montage crosses with the durations and rhythms of the fragments through which the actions and intonations of the actors intertwine.

At one point, Eisenstein gladly exclaims: "Superb ! " This was the fragment from the montage in which, he remarks: "is deftly woven a counterpoint with three different movements in rhythm, cadence and direction. The protagonist, the group that makes up the background and the columns of people who cut in the foreground the moving device." *

Can you capture these points of view emphasized in an analytically unified construct that may unties all the approaches you never thought of?

The critic of a work of combining several frames, making an anchor between viewing and analysis, becomes the partisan of a unitary point of view. Referring to the assertion of the need to capture the totality of a broader vision through a "YES" found behind him, translated in his language, which demands to be emphasized. Would it be better to first work on what can be found out through others, in order to evaluate ourselves?

He is obliged to formulate a point of view, a link between various fragments, insufficiently consistent or consolidated in order to create a work, in the use of a different "owner of knowledge" near him. In order to be satisfied with his creative work, the director must intersect the actions, words and experiences of the actors, their interactions and roles in a visual construction that gives them a broader approach to the subject in question. A dose of color and personality, attributed to each actor, becomes the center of gravity of a background which, being subordinate to the subject, must give a note of naturalness to the film.

The process of intuition – to predict what this owner of knowledge wants, what he likes, what he wants to say, what is inside of him, what fits him but cannot be seen – is rather related to that "Yes" that transforms all "No’s" (stemming from the belief that he is always right) in undeniable changes. Nobody knows what is in the director’s mind until he puts together all the elements of scenography and all the representations of the actors.

A unified analytical construct is a montage that can turn you from reality into illusion, and from illusion into reality, highlighting the director’s multilateralism and talent through a thorough visual inspection and a thorough approach to a current problem.

Is the fairness of the image that your montage reflects the answer to a knowledge of the observational experiences lived in the process of evaluating a self-devoured being?

To watch a movie is to get into the essence of the ideal image that the director carries in his soul. The art of the director is primarily a result of the answer a different form of knowledge gives to your needs, especially as a result of experiences lived in the process of observation and assessment of the connections between the image, sound and the acting game. All of these develop your intuition to personify an idea or a message.

At a subtle level, the "Yes’s" are those points of view emphasized in a unified analytic construct, which unties all approaches you haven’t thought about. They are clarified by listening to and observing those persons, their training, knowledge and ability in a certain field. The art of the director is the experience of the “Yes” to the self-gratification regarding the fulfillment of the vision from which the foundation of the assembly is constituted. But it is also the experience of the “No” derived from the “mistakes” of the actors, from their parasitic gestures, which they must always play in another context.

In leadership we follow a dual purpose that introduces a new model of the progress based on observations and the novelty imposed as a value, whose causal relation is reflected in the exclamation "Superb ! "

First, capturing the sources of confirming a knowledge and a dimension that we do not consider as being a "conquest" but rather a "unification". Then, harnessing the elements of contrast between what we know and the representation we formed of a different form of knowledge, relevant for the understanding and processing of a new learning experience.

A self-devoured being is the image of a creator who manifests in three forms: observer, evaluator and critic in terms of how they relate to that form of knowledge meant to achieve the synthesis between the real and the ideal.

Inspirational Leadership reveals an experience, a powerful impression, a belief, something beyond emotion and which gives birth to the passion of that consumer of knowledge, never tired, but always happy with the way in which others address certain topics, the great ideas, the great challenges, the great questions of art.

The answer to these considerations, being supported by the establishing of a categorical "YES" following the process of observation and evaluation, always ends in the light of an exclamation: "Superb ! "

* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.