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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.

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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 .

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