Download Action!: Interviews with Directors from Classical Hollywood by Gary Morris PDF

By Gary Morris

‘Action!’ provides nineteen extraordinary interviews with administrators earlier and current, from worldwide, operating in quite a few genres, budgets and construction environments from significant studios to indie and DIY. the result's a colourful crew portrait of the filmmaking artwork, one of those pageant in phrases that explores every little thing from the large artistic and private satisfactions to the demanding situations and frustrations of the process.

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Extra resources for Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran

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For example, a sequence whose only narrative significance can be summarized in the words, “Kirk returns to his ship,” is elaborated by Wise into a six-minute tour de force of music, composition, and montage. But, as in most of Wise’s best work, the tendency toward abstract formalism is balanced by reserves of feeling. Here, most of the feelings cluster around the film’s “monster,” an enormous thinking machine attempting to evolve into human form (specifically, the form of beautiful Indian actress Persis Khambatta), and the reciprocal feelings of one of the crew members (Stephen Collins) toward this pseudo-human.

All he can do is race his car. His change is quite impossible, and therefore just right. In Magnificent Obsession you have what I consider to be a quintessential scene–really a manifesto for the melodramas which followed. When Wyman is groping blindly in her room… Yes, there is this huge bulging pole, like a phallus. It’s sitting there, in front of her and she can’t find it. She can’t see it, yet she is reaching out, reaching…These are aspects you can’t hit too much. It must be subconscious. Like the oil well in the Zugsmith picture.

And the actors must respond to the camera. Always. ) And I’d say, “Because the camera is interested in you”–which is true. ” What about the use of rear projection in your films? I am always running into people who say, “That’s the best he could do. It’s just lousy rear projection, that’s all. ” Could you say something about this–say about the rear projection in Written on the Wind when Kyle is driving in his sportscar. I will tell you. Many pictures I have shot against the wishes of the studio totally on location.

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