The Feelings Of Living Characters Are Born From The Evocation Of Events

Leadership in directing is based on the ability to transform abstract ideas into vibrant and engaging visuals, evoking authentic characters and emotions that deeply enrich the story and script.

Once assimilated by the director through all his pores, the entire work that this script represented will allow him to make his film moving casually in the revolutionary world that he was painting, inventing facts, non-existent episodes in the script, but in perfect accordance with the atmosphere of 1905. Eisenstein wrote that only in this way can the bushy and at the same time laconic scenario be understood - which, as we found, many of commentators on his work have otherwise never succeeded - the way he created his film. "Only by relying on this work was the director able to mark with simple sequence numbers such scenes as "the cruiser passes by the fleet without firing", or "a tarpaulin separates those to be executed from the others".

To the great surprise of the cinema historian, the director was thus able to transform, during the casting, the short phrases of the script into unexpected and thrilling scenes. Thus the letters of the script became images, but the real emotional charge was not contained in the summary notes, but in our feelings. Following the evocation of the events, living characters were born from these feelings.

Improvisation in directing requires a deep understanding of the script, in order to then use your freedom to invent new episodes and scenes that perfectly align with the atmosphere you want to create.

In the field of cinematographic creation, Eisenstein recommended exploring the script from the depths of consciousness in emotions. To determine the deviations of authenticity and narrative coherence of the film scenes, he used parallel plane sequences, from experience and imagination. In this case, the pacing error could also be checked with sets of four parallel scenes in different temporal domains of the narrative, such as past, present, future, and universal.

To increase interpretive accuracy, a director can build a partially digitized cinematic cue system so that each frame can be analyzed in relation to the whole. In the director's mental image, the emotional indicators are read on the scale of intensity values, graded on the narrative background, because emotion is the foundation of the cinematic experience. Above all, the degrees of emotion on the narrative scale, a digitized scale constituted by a mechanism with montage sequences that were interconnected by means of a fluid script. The rendering of reality through the cinematic image was done in sequences where the number of meanings appeared completely. The hundreds of emotions were read on the scale of a mental dial, next to the landmark of authenticity on the graduated scale of historical reality.

The process of cinematic evocation involves combining the laconic script with the emotions and experiences of the creator, to transform the written words into unforgettable images.

Due to the 'in extension' arrangement of landmarks, the parallel error between fiction and reality was eliminated, knowing that each frame contributes to the overall narrative. The montage scale was actually an interpolator for the levels of significance assigned to each sequence. It should be noted that the precision of creation could not be increased by achieving a finer scale of details, but by raising the precision of execution of the montage and the scale on the emotional dial.

The historical authenticity dial comparator could reach quite high values in case of accurate historical reconstruction. On Eisenstein's creative drum, only the whole values, that is, the hundredths of emotion, were to be read, not the intervals in the divisions of reality. Thus, during casting, the director could transform the short phrases of the script into unexpected and exciting scenes, creating vivid images from the skeleton of the script, where the genuine emotional charge was not contained in the summary notes, but in his feelings and artistic vision.

Creating a film is not just about following the script to the letter, but also adding genuine emotional charge so that the characters become alive and memorable.

From the evocation of events, the feelings of living characters are born naturally, especially since each emotion is experienced intensely, on the principle that art reflects life in its most authentic forms. For this reason, the director was able to adapt the scenes, knowing that every detail contributes to authenticity, thus shaping a deep and captivating story.

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