Francis Ford Coppola :: essays research papers

Following metrical thought on which director to study, I chose Francis track Coppola. Although he has say more films than I have had the opportunity to experience, I have viewed comely to understand his progression and style of his work. Over almost forty days of work, Coppola has directed about twenty-five films, produced near forty-five, composed two, and acted in eight. He is known predominantly for Apocalypse Now (1979) and The Godfather I (1972), II (1974), and terzetto (1990). However, he has worked in other genres, such as Horror/Romance, Musical, and level Comedy.In the few of his numerous films that I have seen, Coppola appears to use lots of the same aesthetic techniques. Most of his works mise-en-scene, with some exceptions, come outs to be rattling basic. When he is filming, Francis Ford Coppola does not put too many supernumerary items into the scene. When using a Wide-angle lens, the frames are very open and spacious. This allows the watcher to focus on wha t is happening, rather than distract their attention. This technique can as well prove useful. For example, if he wanted to make a character seem alone, abandoned, and insignificant, this type of shot would work well. Opposite a number of his films, in Apocalypse Now, it was important to some of the frames full. However, they still were not completed with bare(a) objects, instead they were lavishly filled with the natural, lush greens of the Philippines. Francis Ford Coppola excessively uses dissolves in his works. In The Cotton Club (1984), this technique was used a couple of times, when both dancing and singing was being performed. His editing style proved continuous. It was neither choppy, nor disruptive to the viewer, which allowed for a more pleasant experience. Francis Ford Coppola uses sound in a rather conventional way, but at times adds a touch of his own creative style. The character that the reference is meant to empathize with may have their own particular motif, dis played through music. In The Conversation (1973), whenever Harry Caul, played by Gene Hackman, was intensely sentiment about something, the same piano music would play.His direction of the actors was executed passing well. He knew exactly what he wanted from them, and did not give up until it was as he had expected. Some of his setbacks in Apocalypse Now sustentation this opinion. He wanted every part to be performed perfectly.