Я · @toabyss
21 followers · 353 posts · Server bgme.me- Nana Georgievna, I was very worried about your confession that his beloved son, Oleg Zguridi, is no longer in the world. You, of course, were friends with him?
- Oleg became an amazing cameraman. And he is just as surprising in his modesty. Oleg was taller than his father. And the character is completely different. He has always defended his independence. It was felt that he was fettered by the extraordinary glory of his father. He wanted to be himself, to stand on his own. Oleg achieved everything himself. And he became an outstanding operator. He had unconditional talent.
But time has turned upside down like that. The great masters are gone. And there was nothing to shoot! In recent years, Oleg worked on television with Zinovy Gerdt. He enjoyed communicating with a talented person. With the master! But all the same, this work on the TV plot is not his scale.
Then it died out. And the talented operator was sitting at home. Two years after the death of his dad, he left.
#我仍然相信 的另一位摄影师奥列格·兹古里奇，亚历山大·兹古里奇之子，1985年米哈伊尔·罗姆纪录片《Михаил Ромм: Исповедь кинорежиссера》的摄影师
Я · @toabyss
21 followers · 353 posts · Server bgme.me“采访法国学童们”的片段是在巴黎圣丹尼斯区拍摄的。大声喧哗的学童们冲出了学校大门，填满了整个画面。罗姆向他们提出了一些简单的问题并得到了令人惊讶的回答。这原应是电影的开头。我们在大街上、在书市里、在咖啡馆里拍摄……主要是青年们。拍摄非常困难。在1968年的青年运动 之后，学生们不愿意入镜。事实上，通过法国电视台的镜头，许多被辨认出身份的学生受到了迫害。大学行政部门就此向我们发出警告。在我们抵达的一周前，来自南泰尔文学院（索邦大学的分支）砸碎了电视台的设备，并把员工们赶出了大楼。但是罗姆决定拍摄。我们到达了南泰尔。走廊及大厅的墙壁是层层粉刷过的。行政部门解释道，没有必要为装修花费：首先，这毫无意义；其次，这种壁画流派可以启迪后人。在门厅里一堆无用的海报变成了小型火堆，一只狗跑过现场，而男女学生们都靠在墙边坐着（我们拍摄了这部分）。某张巨大而崭新的海报是《罢工》——爱森斯坦的电影。罗姆决定在学生面前发言，用以解释我们是谁，我们正在制作什么样的电影，并回答那些不可避免的问题。米哈伊尔·伊里奇拥有掌控任何听众的个人本领，在南泰尔也同样见效。
Я · @toabyss
21 followers · 353 posts · Server bgme.me我们首先挑选М.И.罗姆在一次有关他的最后一部影片（即《我仍然相信》）的讲座中的一段话：“不久前我的同行拉甫罗夫和小兹古里奇让我看到了银幕上一个非常迷人的十八岁左右的姑娘，她的美丽非笔墨所能形容。她在马雅科夫斯基广场的过道上等着一位年青人。她手里拿着一卷纸，什么也不干，什么也不说，就这样等着。我曾想把这个镜头缩短两倍，但最后确信不能这样做，应该保留它原来的长度，因为这是个绝无仅有的镜头，只要能为它找到一个位置。例如，在节日的广场上，密密麻麻的游行人群散去之后，这个镜头可以作为极精彩的停顿，而在另外一些场合则只能造成枯燥感。这样的东西应该爱惜，而且不仅仅在你感觉到恰恰是适合使用长镜头的时候。”
L.科兹洛夫《电影表现力的演变》