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Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
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Commencer à lire- Éditeur:
- Macmillan Publishers
- Sortie:
- Oct 10, 2002
- ISBN:
- 9781429934367
- Format:
- Livre
Description
From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the world's greatest directors on how they make films--and why
Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of today's most important filmmakers to get to the core of each director's approach to film, exploring the filmmaker's vision as well as his technique, while allowing each man to speak in his own voice.
Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesn't work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.
Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.
Informations sur le livre
Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
Description
From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the world's greatest directors on how they make films--and why
Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of today's most important filmmakers to get to the core of each director's approach to film, exploring the filmmaker's vision as well as his technique, while allowing each man to speak in his own voice.
Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesn't work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.
Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.
- Éditeur:
- Macmillan Publishers
- Sortie:
- Oct 10, 2002
- ISBN:
- 9781429934367
- Format:
- Livre
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Moviemakers' Master Class - Laurent Tirard
Agency.
GROUNDBREAKERS
John Boorman
Sydney Pollack
Claude Sautet
The title of this section might make the reader think that these three directors have a conventional approach to filmmaking. Nothing could be more untrue. However, with the exception of Jean-Luc Godard (whose interview appears in the last section), these are the only directors in the book who started their careers before the cultural upheavals of the late sixties, and thus probably are the ones who started out in the most conservative environment. For them, breaking out of the mold of tradition and finding a personal voice were certainly harder tasks than they were for directors of the generations that followed. These directors became auteurs at a time when that notion didn’t yet exist.
JOHN BOORMAN
b. 1933, London, England
Though I had never met John Boorman before interviewing him, actors from his films whom I had interviewed all agreed that he was the nicest man they’d ever worked with. He is, indeed, someone who immediately makes you feel comfortable. Boorman seems particularly tranquil and looks as though he could deal with any situation, however catastrophic, with a shrug and a smile. We met at the time that The General was being released, in 1998. I tried to compliment him on the film but did it so clumsily that I think he got the wrong idea. I said if I hadn’t seen his name on the credits, I would have thought the film had been directed by a twenty-year-old. He seemed perplexed by that remark, but what I had meant was that I found it amazing that after all these years of directing films, he could still exhibit the freshness to make one so modern.
Starting as a director in 1965, John Boorman has always tried—sometimes without success, it is true—to explore all forms of cinema, from the experimental genre film Point Blank to the revisionist operatic epic Excalibur. Thanks to our conversation, I now know what it was that made his version of the Arthurian legend somehow more ambiguous and more exciting than other cinematic
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