One of the essential tasks standing before each and every director \u2013 whether film, documentary, or stage, young or old, experienced or novice \u2013 is to elicit an honest emotional response from audiences. Achieving this is not easy, hence they have a number of different tools at their disposal that may enhance the way their personal vision is being translated onto movie screen or stage. Those can be connected to the creation of a properly meaningful, stylish and sensuous visual narrative, achieved through the co-operation with cinematographers, production designers, costume designers, and other on-set professionals, but they can also consist of a number of plot and story devices. What is also crucial in director’s job is working with actors who guide the viewers over different aspects of the on-screen world. The International Film Festival of the Art of Cinematography CAMERIMAGE<\/strong> hosted in its history numerous distinguished filmmakers from around the globe, including many brilliant directors whose projects altered the way cinema is perceived by millions of people. It is our distinct pleasure to announce that during the 22nd<\/sup> edition of Camerimage<\/strong> this commendable group of our laureates will be joined by British film and stage director Stephen Daldry<\/strong> who will personally come to Bydgoszcz to accept the Excellence in Directing Award<\/strong>. <\/p>\n There are a few directors who can boast having as rapid and wonderful career as Stephen Daldry<\/strong>. He was only 25 when he became a member of Sheffield’s Crucible Theatre where he directed many acclaimed stage adaptations. Before turning 30 he was appointed the Artistic Director of London’s Gate Theatre, and later on he took on the same post in the Royal Court Theatre. In the meantime he has been working arduously on his craftsmanship which almost instantaneously resulted in two prestigious Laurence Olivier Awards (for An Inspector Calls<\/em><\/span> and Machinal<\/em><\/span>) and its American equivalent \u2013 Tony Award (for magnificent translation of An Inspector Calls<\/em><\/span> over to the stages of Broadway). Stephen Daldry<\/strong> quickly rose to prominence and in the subsequent years he directed many plays on both sides of the Atlantic, while simultaneously considering starting career in film. When the right opportunity arrived at his doorstep, he did not think about it twice. <\/p>\n His first film was a short called Eight<\/em><\/span> for which he was nominated to BAFTA Award, the British equivalent of Academy Award\u00ae<\/sup>, but it was his two years’ later feature debut Billy Elliot<\/em><\/span> (cin. Brian Tufano<\/strong>) that made him hot new film director. This tale of a talented young boy who had to defy his family and resist the social pressure to become a ballet dancer became one of the most popular and reputable British film of the turn of the century. It also brought Daldry<\/strong> with his first Academy Award\u00ae<\/sup> nomination in the \u201cBest Director\u201d category (and, a decade later, the second Tony Award for directing a musical adaptation of Billy Elliot<\/em><\/span> on Broadway). Two more nominations came, for The Hours<\/em><\/span> (cin. Seamus McGarvey<\/strong>) and The Reader<\/em><\/span> (cin. Roger Deakins<\/strong> and Chris Menges<\/strong>), making Stephen Daldry<\/strong> the first and only film director who was nominated in this category for his first three films. <\/p>\n Daldry<\/strong> is a brilliant director with great emotional sensibility and attention to detail, which makes his cinematic tales of unique individuals, struggling with various forces which they do not completely understand, all the more impressive. His films are planned out in every possible aspect. Nevertheless, by achieving that degree of control over all the elements of the creative and narrative processes, he is always able to create in his films a space for alluring spontaneity, typically unpredictable human behavior, and a number of deeply emotional and personal scenes which make you both think about and feel them. The perfect example of that came with The Hours<\/em><\/span>, a tale of three women from different generations, living in different times, who struggle with the treacherous fate and the passing of time. <\/p>\n The part of Virginia Woolf in The Hours<\/em><\/span> brought Nicole Kidman<\/strong> Academy Award\u00ae<\/sup> in the \u201cBest Actress in a Leading Role\u201d. It was the story with Kate Winslet<\/strong> when Stephen Daldry<\/strong> directed her in The Reader<\/em><\/span>, an unconventional tale of Nazi crimes dressed up as a romance between a curious teenager and a former prison guard. Daldry<\/strong> was always a wonderful actor’s director, including when working with young debutants. Under his supervision Jamie Bell<\/strong> was a revelation in Billy Elliot<\/em><\/span>, and another young boy, Thomas Horn<\/strong>, was able to hold his own with Tom Hanks<\/strong>, Sandra Bullock<\/strong> and Max von Sydow<\/strong> in Extremely Loud & Incredibly Close<\/em><\/span> (cin. Chris Menges<\/strong>). <\/p>\n Daldry’s<\/strong> genius in working with young actors can also be seen in this year’s Camerimage Main Competition<\/strong> entry, Trash<\/em><\/span> (cin. Adriano Goldman<\/strong>). Supported by Martin Sheen<\/strong> and Rooney Mara<\/strong>, three Brazilian boys Rickson Tevez<\/strong>, Eduardo Louis<\/strong> and Gabriel Weinstein<\/strong> channel their boundless youth energy to create a fascinating trio who risk their lives to fight the corrupt system. Stephen Daldry<\/strong> is a filmmaker who is not only aware of each and every aspect of the director’s job, but also know how to use the tools at his disposal in creating mesmerizing and unique works of art. Whether he works on a film set, or directs a stage play, he always starts his new projects with the experience and knowledge of a true veteran and passion of a teenager who has to figure out the best way to channel all the emotions and ideas gathering in his heart and mind. <\/p>\n We are deeply honored that such a distinguished filmmaker will soon join us in Bydgoszcz to share his indefatigable passion and extensive knowledge of film and theatre with the participants of the 22nd edition of Camerimage Festival<\/strong>, and accept the Excellence in Directing Award<\/strong>!<\/p>\n \u00a0<\/p>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" One of the essential tasks standing before each and every director \u2013 whether film, documentary, or stage, young or old,…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[144],"tags":[],"class_list":["post-8522","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-camerimage-2014"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8522"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=8522"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8522\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=8522"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=8522"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=8522"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Stephen Daldry; Stephen Daldry Archive<\/em><\/p>\n
Still from “Billy Elliot”<\/em><\/p>\n
Still from “The Hours”<\/em><\/p>\n
Still from “The Reader”<\/em><\/p>\n
Still from “Extremely Loud & Incredibly Close”<\/em><\/p>\n
Still from “Trash”<\/em><\/p>\n