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LEADER 00000cam  2200505 a 4500 
001    ocn745979754 
003    OCoLC 
005    20140328121803.0 
008    111021s2012    nyua     bq   001 0 eng   
010      2011043741 
020    9780307273475|q(hardback) 
020    0307273474|q(hardback) 
035    (OCoLC)745979754 
040    DLC|beng|cDLC|dYDX|dBTCTA|dYDXCP|dERASA|dBDX|dJRS|dBWX
       |dCDX|dUIB|dCIA|dA7U|dOCLCQ|dOCLCF|dOCLCA|dSTJ 
042    pcc 
043    n-us--- 
049    STJJ 
050 00 PN1998.2|b.C613 2012 
082 00 791.4302/32092|223 
092    791.43023|bC766C 
245 00 Conversations at the American Film Institute with the 
       great moviemakers :|bthe next generation /|c[edited and 
       with an introduction by] George Stevens, Jr. 
250    1st ed. 
264  1 New York :|bAlfred A. Knopf,|c2012. 
300    xxiii, 737 pages :|billustrations ;|c24 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references and index. 
504    Includes filmographies. 
505 0  Preface / Bob Gazzale -- Introduction / George Stevens, 
       Jr. -- Robert Altman -- Darren Aronofsky -- Peter 
       Bogdanovich -- Charles Champlin -- Shirley Clarke -- Anne 
       Coates -- Roger Corman -- Ed Emshwiller -- Nora Ephron -- 
       Morgan Freeman -- William Friedkin -- Larry Gelbart -- 
       Charlton Heston -- Janusz Kaminski -- Jack Lemmon -- 
       George Lucas -- David Lynch -- James Mangold -- Alan 
       Pakula -- Gregory Peck -- Arthur Penn -- Sidney Poitier --
       Sydney Pollack -- David Puttnam -- Leonard Rosenman -- 
       John Sayles -- Paul Schrader -- Neil Simon -- Steven 
       Spielberg -- Meryl Streep -- Robert Towne -- Fran├žois 
       Truffaut. 
520    A companion volume to George Stevens, Jr.'s, much admired 
       book of American Film Institute seminars with the great 
       pioneering moviemakers ("Invaluable"--Martin Scorsese). 
       Those represented here--directors, producers, writers, 
       actors, cameramen, composers, editors--are men and women 
       working in pictures, beginning in 1950, when the studio 
       system was collapsing and people could no longer depend on,
       or were bound by, the structure of studio life to make 
       movies. Here also are those who began to work long after 
       the studio days were over--Robert Altman, David Lynch, 
       Steven Spielberg, among them--who talk about how they came
       to make movies on their own. Some--like Peter Bogdanovich,
       Nora Ephron, Sydney Pollack, Fran├žois Truffaut--talk about
       how they were influenced by the iconic pictures of the 
       great pioneer filmmakers. Others talk about how they set 
       out to forge their own paths--John Sayles, Roger Corman, 
       George Lucas, et al. In this series of conversations held 
       at the American Film Institute, all aspects of their work 
       are discussed. Here is Arthur Penn, who began in the early
       1950s in New York with live TV, directing people like Kim 
       Stanley and such live shows as Playhouse 90, and on 
       Broadway, directing Two for the Seesaw and The Miracle 
       Worker, before going on to Hollywood and directing Mickey 
       One and Bonnie and Clyde, among other pictures, talking 
       about working within the system. ("When we finished Bonnie
       and Clyde," says Penn, "the film was characterized rather 
       elegantly by one of the leading Warner executives as a 
       'piece of shit' ... It wasn't until the picture had an 
       identity and a life of its own that the studio 
       acknowledged it was a legitimate child of the Warner Bros.
       operation.") Here in conversation is Sidney Poitier, who 
       grew up on an island without paved roads, stores, or 
       telephones, and who was later taught English without a 
       Caribbean accent by a Jewish waiter, talking about working
       as a janitor at the American Negro Theater in exchange for
       acting lessons and about Hollywood: It "never really had 
       much of a conscience ... This town never was infected by 
       that kind of goodness." Here, too, is Meryl Streep, 
       America's premier actress, who began her career in Julia 
       in 1977, and thirty odd years later, at sixty, was staring
       in The Iron Lady, defying all the rules about "term 
       limits" and a filmmaking climate tyrannized by the male 
       adolescent demographic ... Streep on making her first 
       picture, and how Jane Fonda took her under her wing ("That
       little line on the floor," Fonda warned Streep, "don't 
       look at it, that's where your toes are supposed to be. And
       that's how you'll be in the movie. If they're not there, 
       you won't be in the movie"). Streep on the characters she 
       chooses to play: "I like to defend characters that would 
       otherwise be misconstrued or misunderstood." The Next 
       Generation is a fascinating revelation of the art of 
       making pictures. 
520    Collects American Film Institute conversations with 
       filmmakers from the 1950s to today, including Steven 
       Spielberg, Nora Ephron, and George Lucas. 
650  0 Motion picture producers and directors|zUnited States
       |vInterviews. 
650  0 Motion pictures|xProduction and direction. 
700 1  Stevens, George,|cJr.,|d1932- 
710 2  American Film Institute. 
994    01|bSTJ 
Location Call No. Status
 University of Saint Joseph: Pope Pius XII Library - Standard Shelving Location  791.43023 C766C    Check Shelf