By John Andrew Gallagher
Self reliant director and screenwriter John Andrew Gallagher interviews 21 filmmakers at the craft of movie directing. Francois Truffaut, Michael Cimino, Ulu Grosbard, Dennis Hopper, Alan Parker, Susan Seidelman, Joan Micklin Silver and so forth show behind-the-scenes anecdotes approximately popular motion pictures and stars.
The enormous gamblers who spend hundreds of thousands in step with movie in addition to the colourful reasonably-priced kings supply an interesting examine the mechanics of filmmaking.
Choosing and getting ready the screenplay, operating with actors and team, facing the distributor, and suggestion to younger filmmakers--all are lined during this book's illuminating interviews.
Read Online or Download Film Directors on Directing PDF
Similar film books
Seeing is Believing is a provocative, wise, witty examine the Hollywood fifties videos all of us love-or like to hate-and the thousand sophisticated methods they replicate the political tensions of the last decade. Peter Biskind, former government editor of prime, is one in every of our such a lot astute cultural critics. right here he concentrates at the movies all people observed yet not anyone particularly appeared at—classics like large, at the Waterfront, insurgent with no reason, and Invasion of the physique Snatchers—and exhibits us how video clips that seem to be politically blameless in truth hold an ideological burden.
Filmmaker David Lynch asserts that after he's directing, 90 percentage of the time he doesn't comprehend what he's doing. to appreciate Lynch's motion pictures, Martha Nochimson believes, calls for an identical approach to being open to the unconscious, of resisting the logical reductiveness of language. during this leading edge e-book, she attracts on those options to supply shut readings of Lynch's movies, educated by way of unheard of, in-depth interviews with Lynch himself.
Even if contending with nihilists, botching a kidnapping pay-off, staring at as his liked rug is micturated upon, or just bowling and consuming Caucasians, the Dude—or El Duderino if you’re no longer into the total brevity thing—abides. As embodied by means of Jeff Bridges, the most personality of the 1998 Coen brothers’ movie the large Lebowski is a contemporary hero who has encouraged gala's, burlesque interpretations, or even a faith (Dudeism).
The definitive e-book at the world's so much liked musical, The Sound of tune better half charts the great and enduring tale of Maria von Trapp and her tale during the last hundred years – from Maria's delivery in Vienna in 1905 to the fiftieth anniversary of the film's unlock in 2015.
- Film Noir: From Berlin to Sin City (Short Cuts)
- La Roma segreta del film La Grande Bellezza
- Cabaret: Music on Film
- Walking with the Wind (Voices and Visions in Film, Volume 2)
Additional info for Film Directors on Directing
H e really wanted a translation of that French movie, which basically is what we got. We tried to jazz it up a bit, but it's not one of m y favorites. J A G : What attracted you to For Keeps? J G A : T h e opportunity to do a love story. I always liked Molly Ringwald. The story itself seemed to be about something that's unusual. I had to do something because there was going to be a cut-off period when people stopped making movies in anticipation of the Directors Guild strike that never happened.
They were all "up" type movies. I would go to see a Bergman film out of a sense of duty rather than to go and have a nice time. JAG: Didn't Martin Scorsese work on one of your first films? JGA: Yeah, he was a "go-fer" on the first short that I did, a thing called Smiles, and Roy Scheider was the leading man. Marty was very intense and eager. JAG: What qualities do you think make a good film director? JGA: From my experience, the more you know about the mechanics of the business, the better your chances are, especially if you're going to get your chance on a low-budget.
It was kind of an abrupt thing. M P C : What made you begin writing? M C : Joann Carelli, the associate producer on The Deer Hunter, actually talked me into it. I'd never really written anything before. I still don't regard myself as a writer. I've probably written about thirteen or fourteen screenplays by n o w but I still don't view myself that way. Yet, that's h o w I make m y living. M P C : Is The Deer Hunter a personal work? M C : As it happens, the screenplay is very personal. When I was g r o w i n g up I had a n u m b e r of very close friends w h o were Russian J e w s .