Question

note making :-
On the very first day of the shooting of Pather Panchali, I remember I had a scene where the boy Apu went looking for his sister into a field of tall grass. In the very first shot all that the boy had to do to walk to a few steps, stop, look this way and that, and then walk again. Little did I know then that it was twice as hard to achieve impeccableability in a shot like that than in a shot of, say, a charging cavalry. With the latter, all you need is a cavalry that charges. In Hollywood, 'such a shot, or even an entire scene of battle, would normally be entrusted to what is known as the second-unit director-a perceived young fellow, generally, with not much brains but a lot of stamina. William Wyler was away planning interiors in Hollywood while the second-unit director shot the entire chariot race somewhere in Italy. But if you are faced with a scene of a boy looking for his sister in a field of tall grass, you are faced with a particular state of mind that produces a special kind of walk, and a special kind of stopping and turning of the head . You also have to calculate the exact duration of the halt, of the exact duration of each turn of head, of the exact moment of resumption of walk. Of course, all this is further complicated if you are dealing with someone who has never faced a camera before, and with whom it would be futile to discuss outer manifestations of inner feelings. ​

Answer 1

Answer:

Good good

nice one, from where did u get it?