Download E-books Interviews with Film Directors PDF

By Andrew Sarris

Andrew Sarris, essentially the most influential of the more youthful critics on the time this booklet used to be written, accumulated interviews with 40 of the crucial figures of recent film-making, discussing their very own paintings and the movie as an paintings form.
The administrators: Michelangelo Antonioni, Ingmar Bergman, Robert Bresson, Peter Brook, Luis Bunuel, Claude Chabrol, George Cukor, Clive Donner, Carl Dreyer, Sergei Eisenstein, Federico Fellini, John Ford, Jean-Luc Godard, Howard Hawks, Alfred Hitchcock, John Huston, Buster Keaton, Akira Kurosawa, Fritz Lang, David Lean, Joseph Losey, Ernst Lubitsch, Rouben Mamoulian, Max Ophuls, Pier Paolo Pasolini, Sam Peckinpah, Abraham Polonsky, Otto Preminger, Nicholas Ray, Satyajit Ray, Leni Riefenstahl, Jean Renoir, Alain Resnais, Roberto Rossellini, Josef von Sternberg, Erich von Stroheim, Preston Sturges, Francois Truffaut, Orson Welles.

"More inside of info on movie directing than has ever been formerly assembled in one quantity. The interviewers' remarkable familiarity with the medium visibly stimulates the director to larger articulateness approximately his craft."

Table of Contents :
Introduction: the autumn and upward push of the movie Director......9
Michelangelo Antonioni......21
Ingmar Bergman......33
Robert Bresson......46
Peter Brook......51
Luis Bunuel......65
Claude Chabrol......75
Charles Chaplin......86
George Cukor......92
Clive Donner......127
Carl Dreyer......140
Sergei Eisenstein......164
Federico Fellini......175
John Ford......193
Jean-Luc Goddard......202
Howard Hawks......228
Alfred Hitchcock......241
John Huston......253
Buster Keaton......274
Akira Kurosawa......287
Fritz Lang......309
David Lean......316
Joseph Losey and Nicholas Ray......322
Ernst Lubitsch......335
Rouben Mamoulian......342
Max Ophuls......350
Pier Paolo Pasolini......366
Sam Peckinpah......371
Abraham Polonsky......384
Otto Preminger......398
Satyajit Ray......413
Jean Renoir......419
Alain Resnais......434
Leni Riefenstahl......453
Roberto Rossellini......474
Josef von Sternberg......479
Erich von Stroheim......500
Preston Sturges......511
Francois Truffaut......520
Orson Welles......528

Show description

Read or Download Interviews with Film Directors PDF

Similar Film books

Writers in Hollywood, 1915-1951

Appears on the heritage of screenwriters less than the outdated studio procedure, and explains why they bought so little credits for his or her contributions.

Tales from the Script: 50 Hollywood Screenwriters Share Their Stories

Notice the secrets and techniques of Hollywood storytelling during this interesting assortment, during which fifty screenwriters percentage the interior scoop approximately how they surmounted very good odds to wreck into the enterprise, how they reworked their rules into box-office blockbusters, how their phrases helped release the careers of significant stars, and the way they earned accolades and Academy Awards.

Silencing Cinema: Film Censorship around the World (Global Cinema)

Oppression via censorship impacts the movie way more often than the other mass media. together with essays by way of prime movie historians, the ebook bargains groundbreaking historic learn on movie censorship in significant movie construction international locations and discover such leading edge topics as movie censorship and authorship, faith, and colonialism.

Michael Haneke (Contemporary Film Directors)

During this paintings, Peter Brunette analyzes the theatrical releases of Austrian movie director Michael Haneke, together with 'The White Ribbon', winner of the 2009 Palme d'Or on the Cannes movie competition.

Extra resources for Interviews with Film Directors

Show sample text content

Woody had labored for a yr at the script lengthy sooner than it got here into my ken, after which acquired uninterested and stated ''Look, this can be the script i need to write down, if you happen to don't need to do it, let's overlook it. " That used to be what Charlie came visiting and confirmed me. I learn it; I went again to the States, and the assumption at the moment used to be that it might be Warren Beatty, Woody Allen and many attractive women. Woody and that i acquired on rather well, and we determined that we shared sufficient of an outlook so that it will do the image toge$er. So we labored at the script there for a few months, and got here again to Europe to begin surroundings 'it up. Warren dropped out for classy purposes, and we have been going to do it completely with unknowns. Then Feldman acknowledged to me "How do you are feeling approximately O'Toole enjoying the half? " and that i idea that might be marvellous. Thereafter . we had a protracted speak about the women, and nonetheless went on looking for unknowns, however it turned greatly a clash among Charlie and myself, with Charlie in need of lovely little women who had character and on whom shall we get loads of exposure. 'I was once now not averse to this whatsoever in any respect, so long as that they had expertise and will play those rather tricky roles. finally i think I got here off good simply because I bought peo­ ple who, no matter if you're keen on them or now not, a minimum of are ac­ tresses and will play it, and have not ended up with 4 schleppers off the through Veneto. Then we acquired Peter , which was once whatever I were engaged on, and so, because the factor accrued, i£ grew to become obtrusive that taking pictures in Paris was once unlikely to be performed affordably; you could not simply nip out and whisk around with a handheld Arriflex, so the item enlarged. yet, i need to say that, even though it en­ larged from the interval whilst it used to be going to be performed . to­ tally with unknowns, i don't believe the · manner within which the solid and myself dealt with the fabric turned enlarged. In different phrases, we by no means at any aspect felt ourselves announcing "Why cannot we make this extra of a powerful scene, why cannot we make this have extra scope or dimension? " We took the events and ·the comedy in the given situa­ tions and simply made them as humorous as we probably might. I think you spot it as a really ethical. photo. sure, i feel ifs a truly ethical photograph. hugely ethical. it sort of feels to me you have attempted to exploit comedy to be critical 128 about intercourse, that is whatever you cannot. but do in a "seri­ ous'' motion picture. i do not understand. I hadn't thought of doing it that manner, and that i hadn't really desired to do it that approach. i do not trust you that this perspective to intercourse cannot be handled se­ riously, when it comes to direct drama. i believe it is extra. tricky simply because one has to struggle · the repressions and inhibitions. it really is a lot more straightforward to blow off that feel of embarrassment, which comes out of touching one's repressed sexuality, by way of doing it with a shaggy dog story. In direct dramatic phrases you haven't any unencumber given . you. In different phrases you could say "That's a smashing little bit of stuff' ' (nudge, nudge) but when you assert "What a stunning lady, i might a great deal wish to sleep with her'' or "She's an individual with whom i might prefer to have a deep and maybe brief, yet optimistically passable, rela­ tionship," humans say "Well, do you need to screw her or no longer?

Rated 4.97 of 5 – based on 14 votes