Download Hawks on Hawks by Joseph McBride, Howard Hawks PDF

By Joseph McBride, Howard Hawks

"I learn Hawks on Hawks with ardour. i'm more than pleased that this e-book exists." — François Truffaut

"A cogent and pleasing sequence of observations. Hawks's astuteness in tale development and his mastery of movie method are appear in his creation anecdotes, and his analyses of actors' personalities are insightful." -- movie Quarterly

"[D]ifferent from so much movie books approximately personalities.... the writer relatively knew Howard Hawks, interviewed the crusty outdated director; the crust and perception come via in those interviews. There are going to be many biographies of Howard Hawks, yet they're going to all lean seriously in this publication; the pioneer so in truth finds himself and the folks with whom he worked." -- la Times

The individual director, Howard Hawks, discusses his options of filmmaking, analyzes the artistry of his video clips, and portrays his studies operating in Hollywood.

Hawks on Hawks attracts on interviews that writer Joseph McBride carried out with the director over the process seven years, giving infrequent perception into Hawks's creative philosophy, his relationships with the celebrities, and his place in an that used to be quickly altering. In its new version, this vintage ebook is either an account of the movie legend's existence and paintings and a guidebook on find out how to make movies.

Howard Hawks (1896—1977) is usually credited as being the main flexible of the entire nice American administrators, having labored with equivalent ease in screwball comedies, westerns, gangster video clips, musicals, and event movies. He directed a powerful variety of Hollywood's maximum stars — together with Humphrey Bogart, Cary provide, John Wayne, Lauren Bacall, Rosalind Russell, and Marilyn Monroe — and a few of his such a lot celebrated movies contain Scarface (1932), citing child (1938), the large Sleep (1946), pink River (1948), gents want Blondes (1953), and Rio Bravo (1959).

Joseph McBride is an the world over recognized movie critic and historian and a professor within the Cinema division at San Francisco kingdom collage. McBride's 16 books comprise What Ever occurred to Orson Welles?: A Portrait of an autonomous profession; Writing in photos: Screenwriting Made (Mostly) Painless; and acclaimed biographies of Frank Capra, Steven Spielberg, and John Ford. www.josephmcbridefilm.com

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That was the most successful year Paramount ever had. ” I really had too much to do at Paramount, because I was writing the titles—they were silent pictures—and reading the scripts and seeing the rushes. I got tired after about six months, so I hired some newspapermen to write titles, and they became big guns. I started the horrible thing of associate producers. But I wrote titles till I was blue in the face. If you didn’t like a story, you could change it just by writing different titles. There was one picture [Lucretia Lombard, 1923] that had Irene Rich and Norma Shearer.

Because if I don’t write big, nobody can read my writing. No, but actually, if I got an actor who was particularly good and had a certain quirk or something he did that I liked, I’d rewrite the part for him. It makes it a lot easier. You’re not really rewriting it, you’re just saying it in different words, with a different attitude. When we started Tiger Shark, Eddie Robinson’s character was written as a very dour, sour man. ” I said, “Well, if you’re willing to try it with me, why, let’s make him a happy-go-lucky, talkative .

And then in the middle of the scene he’d say, “Number Two! ” When you’re doing comedy, take after take after take, how do you keep it fresh? I don’t let them do take after take after take. If a person isn’t good enough to do it, I just have somebody else walk in, or else I forget that scene and start on something else. I don’t go back to it. I don’t believe in getting myself tired out along with the actors. You just try and make a funny picture. If it isn’t funny, you drop the thing. I think that when actors get to mumbling over lines so long, they get very bad, but if they just come out with it, they usually say the right thing.

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