Try to find a way to experience the higher frequencies and dimensions of consciousness and life, through what enlightens the minds that live in the vision of your reality.
Russian director Sergei Eisenstein’s editing combines the objective existence of a phenomenon of patriotism with the subjective attitude of its creator, and the great composer Prokofief perceives the intimate emotional structure and gives his own sensitivity to it. It is precisely for the success of this tuning that Prokofiev changes his music if the image demands it, just as Eisenstein does not hesitate to make editing changes to allow the music to have its say.
The only misunderstanding will arise when all the music will be completed. Eisenstein asks Prokofiev to compose an overture. The composer refuses: because the film begins with a tragic episode, the overture should be triumphant-heroic and does not see how the transition between these two different types of music could be made. He is willing to write any kind of music, he says, but artistic considerations prevent him from writing it.
Eisenstein insists, however. Then Prokofiev agrees, but only on the condition that the director change the sad episode from the beginning of the film. But because Eisenstein believes that the editing plan can no longer be changed, the film remains without an overture and the credits are projected quietly. However, many commentators see here a special effect pursued by Eisenstein. *
Leadership: Can you combine the objective existence of a topical phenomenon with the subjective attitude of the creator who perceives the intimate emotional structure of other people and gives his own sensitivity to it?
In cinema, the transition between two different types of music, like the transition from one theme to another, is actually the transition from the subjective attitude of the creator to the intimate emotional structure of other people, meaning it is a way to highlight the sensitivity of a hypostasis of the world, of a constantly burning collective mind.
Also, a cinematic creation in which the direct contact with the spectator is made through music and images, so we refer to an art in which moral, emotional or spiritual characteristics are reproduced, being transmitted to the public with the help of editing, involves special modulation of the actors’ voices and a composition of all the senses.
The image and the music are reunited in a unitary image of great scenic scope, especially if the music knows a spectacular evolution due to the image and the way in which it is delivered to the spectator public. And, given that music is an expression of emotions that cannot be spoken, and the montage is the result of a creation of different emotions provided by the use of sound and image, then perhaps it is good to pay attention to the effects involved in combining them.
Leadership: Do you take into consideration the onset of a high-intensity emotion with the full experience of real life transformed into an artistic creation that highlights the subjectivity of the characters?
When it comes to directing and film, the first thing that comes up is an “antidepressant” effect, because film can make you feel good in a pleasant way, it can motivate you to impose a change in your life. And then there is an effect like “maturity”, against the background of an identification of the action with the feeling, because the film teaches you the values of life, teaches you to give meaning to your life and to overcome your limits. In any case, film is a directorial art that expresses with the help of sounds and images feelings and attitudes meant to contribute to the triggering of certain behaviors, actions or events.
This is where the objective existence of a topical phenomenon comes into play, which means taking into account the onset of a high-intensity emotion with the full experience of true life in a film, behind the film and beyond, or at least the experience of a unique, beautiful, even ecstatic moment.
It is certainly easier for a director to perceive the intimate emotional structure of other people and to give his own sensitivity to it when the action of the film is directed towards the goal of changing mentalities, strengthening the desire and feeling of belonging to a way of being and to think, on moral landmarks, on the conception related to work, respect and responsibility towards experience and life.
Leadership refers to the director’s ability to find a way to experience the higher frequencies and dimensions of consciousness and life, through what enlightens minds living in the vision of his reality.
The Intimate Emotional Structure is a variable of the process of communicating the vision with the help of music and images that the director edits in the context of the film, so as to keep alive the viewer’s interest in the action and play of the actors on stage.
The director must also keep a keen interest in a script drawn in dynamic but refined lines, with clever claims of “Premium Creation”.
* Note: Ion Barna - Eisenstein , Youth Publishing House, 1966.