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 -- François 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, François 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
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