Chin to Shoulder, Should The Conductor?

I have decided that I need to create.

I am a filmmaker. I am a photographer. The steps I to take are large.  The steps taken reflect willingness to search for what calls, to appease, I the interrogation.

Doubt hinders imagination.

I’ve Taken steps to appease the interrogation of the doubt that hinders imagination. Because of that I create.

Editing a film is much like conducting a symphony. Because of that I create.
Each element i have to work with has a life, a length or period of time of value that can be held, interpreted, interrupted, presented or carried in the piece. Like notes, the progression of time in a film is carried by the guidelines of thematic time.
The audience sits behind the eyes of the conductor who stands between them and his symphony. Who is focused on the quality of symphony and who is focused on the feeling in the reception of the symphony?  As I conduct, nor my hands nor eyes equally sway the clips of individual film segments but it is my heart that eventually brings the chaos of the day’s shoot together.  Like bows that form vocal chords of a string orchestra, the screen becomes the center piece and my voice indirect. The audience and the screen and I.

At my first premier last Wednesday in San Francisco I found that the conductor can only look at one musician at a time and can not look for approval or temperature to the eyes that lay in audience.  The conductor can only set his hand equipped with the tool of his craft to the tune of his heart and feel out the elements around him fortifying the message he is presenting. The conductor must feel, the conductor should know all. Should the conductor though ever face the audience to see the response at any point in the performance? Even for a peak? If for heavens sake the conductor does look for reaction not a single note will be in rhythm for when one note in off, then all are off.

The screen last Wednesday night became my conducting hands as my movie went through the dialog, as I starred at the backlit heads of my audience, as my client paid film followed the rules of journalism. 134 audience members, 56,495 notes/frames, and I. Creation complete.

I have decided that I am playing for an audience that doesn’t consist of the perpetrators of silent positive, silent negative, outsourced, written or the latter, tonal, critique.

I am playing for an audience of one of many.

  1. scdanaher said:

    I’m glad that you wrote this. I think I understand now.

    “Doubt hinders imagination… I’ve taken steps to appease the interrogation of the doubt that hinders imagination. Because of that I create.” I’m pondering this.

    My question— are you both composer and conductor? I would venture to suggest that God is the composer, and He has given you the high calling of communicating His work to a waiting audience.

    If this is the case, there is only member of the audience that you should face, in both thought and action, while the music swells and recedes and soars, or as the light of your movie screen flickers on faces as the story flickers on hearts and affects thoughts. This Person is God— the One who wrote the music, who is behind the story.

    “I am playing for an audience of one of many.” — Stephen McGee

      • scdanaher said:

        As the conductor, I am nothing and everything.”
        True. Very, very true.
        Which means the role of the conductor is a role of both great privilege and tremendous responsibility. A heavy weight, and a high calling.

        I think God chose a worthy man for such a calling.

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