Editing Frank Capra (section)

== Directing style ==
Capra's directing style relied on improvisation to a great extent. He was noted for going on the set with no more than the master scenes written. He explained his reasoning:

{{Blockquote | style=font-size: 100%; | What you need is what the scene is about, who does what to whom, and who cares about whom&nbsp;... All I want is a master scene and I'll take care of the rest—how to shoot it, how to keep the machinery out of the way, and how to focus attention on the actors at all times.<ref name="Wakeman p. 102" />}}

According to some experts, Capra used great, unobtrusive craftsmanship when directing, and felt it was bad directing to distract the audience with fancy technical gimmicks. Film historian and author William S. Pechter described Capra's style as one "of almost classical purity". He adds that his style relied on editing to help his films sustain a "sequence of rhythmic motion". Pechter describes its effect:

{{Blockquote | style=font-size: 100%; | Capra's [editing] has the effect of imposing order on images constantly in motion, imposing order on chaos. The end of all this is indeed a kind of beauty, a beauty of controlled motion, more like dancing than painting&nbsp;... His films move at a breathtaking clip: dynamic, driving, taut, at their extreme even hysterical; the unrelenting, frantic acceleration of pace seems to spring from the release of some tremendous accumulation of pressure.<ref name="Wakeman p. 102" />}}

Film critic John Raeburn discusses an early Capra film, ''[[American Madness]]'' (1932), as an example of how he had mastered the movie medium and expressed a unique style:

{{Blockquote | style=font-size: 100%; | The tempo of the film, for example, is perfectly synchronized with the action&nbsp;... as the intensity of the panic increases, Capra reduces the duration of each shot and uses more and more crosscutting and jump shots to emphasize the "madness" of what is happening&nbsp;... Capra added to the naturalistic quality of the dialogue by having speakers overlap one another, as they often do in ordinary life; this was an innovation that helped to move the talkies away from the example of the legitimate stage.<ref name="Wakeman p. 98" />}}

As for Capra's subject matter, film author Richard Griffith tries to summarize Capra's common theme:

{{Blockquote | style=font-size: 100%; | [A] messianic innocent&nbsp;... pits himself against the forces of entrenched greed. His inexperience defeats him strategically, but his gallant integrity in the face of temptation calls for the goodwill of the "little people", and through their combined protest, he triumphs.<ref name="Wakeman p. 102">Wakeman 1987, p. 102.</ref>}}

Capra's personality when directing gave him a reputation for "fierce independence" when dealing with studio bosses. On the set he was said to be gentle and considerate, "a director who displays absolutely no exhibitionism."<ref name="Wakeman p. 103">Wakeman 1987, p. 103.</ref> As Capra's films often carry a message about basic goodness in human nature, and show the value of unselfishness and hard work, his wholesome, feel-good themes have led some cynics to term his style "Capra-corn". However, those who hold his vision in higher regard prefer the term "Capraesque".<ref name=Friedman>Pendergast 2000, pp. 428–29.</ref>

Capra's basic themes of championing the common man, as well as his use of spontaneous, fast-paced dialogue and goofy, memorable lead and supporting characters, made him one of the most popular and respected filmmakers of the 20th century. His influence can be traced in the works of many directors, including [[Robert Altman]],<ref name="dvdtalk.com">[http://www.dvdtalk.com/reviews/25265/premiere-frank-capra-collection-the/ "The Premiere Frank Capra Collection"], ''DVD Talk Review of the DVD Video''; retrieved September 26, 2010.</ref> [[Ron Howard]],<ref name="dvdtalk.com" /> [[Masaki Kobayashi]],<ref>Christian, Diane and Bruce Jackson. [http://csac.buffalo.edu/harakiri.pdf "The Buffalo Film Seminars: Hara Kari (1962), directed by Masaki Kobayashi"] {{Webarchive|url=https://web.archive.org/web/20100613091720/http://csac.buffalo.edu/harakiri.pdf |date=June 13, 2010 }}, csac.buffalo.edu, February 26, 2008; retrieved September 26, 2010.</ref> [[Akira Kurosawa]],<ref>[http://www.bampfa.berkeley.edu/filmseries/kurosawa_centennial "BAM/PFA Film Programs: Kurosawa."] {{webarchive|url=https://web.archive.org/web/20100810182716/http://bampfa.berkeley.edu/filmseries/kurosawa_centennial |date=August 10, 2010}} ''banpfa.berkeley.edu.'' Retrieved: September 26, 2010.</ref> [[John Lasseter]],<ref>Day, Aubrey [http://www.totalfilm.com/features/interview-john-lasseter/page:13 "Film features: Interview: John Lasseter"], totalfilm.com, June 3, 2009; retrieved September 26, 2010.</ref> [[David Lynch]],<ref>Barney 2009, pp. 35, 119, 265.</ref> [[John Milius]],<ref name="dvdtalk.com" /> [[Martin Scorsese]],<ref name="dvdtalk.com" /> [[Steven Spielberg]],<ref>[http://projects.latimes.com/hollywood/star-walk/frank-capra/ "Frank Capra: Hollywood Star Walk."] ''The Los Angeles Times,'' September 3, 1991. Retrieved: September 26, 2010.</ref> [[Oliver Stone]]<ref name="dvdtalk.com" /> and [[François Truffaut]].<ref>Dixon 1993, p. 150.</ref>