The Metamorphosis Of The Work In Continuous Reconsiderations Of Principles

Creative leadership means combining rigorous calculation with spontaneity, turning theoretical plans into visionary action.

Was this all pre-determined, coldly calculated and a priori? Once, Eisenstein confesses the way he works on the preparation of a film. "I work very professionally. Raising waves of erudition. Debating principles and programs with myself. Accumulating calculations, equations, conclusions. I like to match the melody to the motion of the film. Sometimes surpassing it. Then, suddenly, the melody doesn't fit anymore. dives into the drawers of doctrinal considerations. The script remains in place. In its place, the files swell with pages of theoretical researches... This metamorphosis a the work in constant reconsideration of principles is often my misfortune. Often, clarifying the principle, I lose interest in its application."

But sometimes he succeeds. As in the case of the film Alexander Nevsky. But then the calculations, the equations, the conclusions are only the premises of the creation. The director's script is only the first stage in the creative process. During creation, Eisenstein no longer thinks about these "why" and "how". In the period of work, the basic solution is transformed not into logical evaluations, but into direct action. Thoughts are no longer expressed by deductions, but projected directly into images, they are not described in formulas, but in forms. Of course, spontaneous creation traverses the realms of consciousness, but this does not stop it for analysis, but lets it rush on. "The act of creation takes place in fever."

Genuine creativity is born when thoughts are no longer expressed through formulas, but through images that bring a vision to life.

The technical operations are the same as in the case of the preparation of a film, but they must be carried out firmly, quickly and with special attention and professionalism, constantly taking care to manage the theoretical calculations and conclusions and the neighboring principles of film criticism. If the script is more or less intact, appropriate scenes will be used, detached from the narrative as if the director himself should extract the essence of the message. Metamorphosis is not absolutely necessary, and it is even advisable to avoid it, so as not to damage the basic ideas and not allow the details to insinuate themselves too deeply into the narrative.

When the scenario is destroyed by various theoretical reconsiderations of the critics and it is not possible to apply the conclusions, creative improvisations will be used, crossing the areas of the viewers' consciousness.

The essence of leadership in creative fields lies in the ability to move from analytical thinking to direct projection into images and forms.

The camera operator, the one filming the scenes, will very carefully limit the active portion of the improvisation, so that the peak moment of intensity does not penetrate the depth and damage the integrity of the principles on which the structure of the montage is based. The improvisation will act especially by pushing the story from the bottom of the concept of "experimentation", in a creative sense, and will not try to insinuate it between the narrative construction and the theme, the structure having little resistance and being able to fracture easily. In multi-thematic films, the peak of improvisation will insinuate itself between themes, "why?" by "how?" in the sense of the axis of development of the story, so that the scenario does not remain "in the wedge" of inspiration.

Any small fragments of ideas will be extracted with a delicate approach, without stopping the creation for analysis, but letting it rush on. If the film presented chronic creative blocks, that is, when the director's thoughts are no longer expressed by deductions, but directly projected into nonsensical images, the concepts of grain in the narrative will be removed by gentle means of re-evaluating and adapting the script to the current context. In order not to discover and damage the main ideas, it is advisable to avoid insistent re-evaluation of the narrative, turning the analysis not into logical evaluations, but into direct action.

A visionary leader must balance theoretical analysis with direct action, avoiding the trap of losing interest in applying the principles developed.

The metamorphosis of the work in continuous reconsiderations of principles has the role of refining the artistic direction, because in this way the correctness and relevance of each decision is constantly re-evaluated, in the case of a complex vision that requires frequent adaptations. I say this knowing that every idea, in contact with practical reality, becomes a challenge that tests both creativity and the ability to stay true to the original vision.

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