By Andrew Sarris
Andrew Sarris, some of the most influential of the more youthful critics on the time this ebook used to be written, collected interviews with 40 of the relevant 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' unparalleled familiarity with the medium visibly stimulates the director to larger articulateness approximately his craft."
Table of Contents :
Introduction: the autumn and upward thrust of the movie Director......9
Joseph Losey and Nicholas Ray......322
Pier Paolo Pasolini......366
Josef von Sternberg......479
Erich von Stroheim......500
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Additional info for Interviews with Film Directors
Also I count myself happy not to have been born with exactly as much intelligence as feeling; it is nowhere written that a film-maker must be content, happy, or satisfied. Who has said that he must not make noise, break barriers, battle against windmills, send robots to the · moon, have visions, play with dynamite, or tear pieces of flesh from himself or others? Why can't someone frighten film producers"? It's their job to be frightened; they are prud for their stomach ulcers! But "film-making" is not only running up against prob lems, .
These are colors that are less discordant with the ob jects displayed. If you paint a wall orange, this' color will kill any object nearby, while sky-blue or pale green will set the objects off without overwhelming theni. I wanted this contrast between warm colors and cool colors : there is an orange, a yellow, a maroon ceiling, and my character dis covers that, for her, they don't go well together. GoDARD--The film's title was. Celeste E Verde (Heavenly Blue And Green) . ANTONIONI-1 abandoned it, because it didn't seem to be a ·virile enough title; it was too directly linked to the color.
Even if, as I said, one is somewhat of a magician, one cannot deceive the producers, the bank directors, the theater · owners, or the critics when the public will not go to see a film and pay out the money from which the pro ducers, bank directors, theater owners, critics, and magi cians must earn their livings. I can cite you the example of a recent experience, the memory of which still makes me tremble and in which I nearly lost my own equilibrium. An. unusually courageous producer invested money in one of my films that, after a year of intense activity, appeared under the title The Naked Night (Gycklarnas afton).