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ویرایش: F First Edition
نویسندگان: George Stevens Jr.
سری:
ISBN (شابک) : 0307273474, 9780307273475
ناشر: Knopf
سال نشر: 2012
تعداد صفحات: 0
زبان: English
فرمت فایل : EPUB (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 14 مگابایت
در صورت تبدیل فایل کتاب Conversations at the American Film Institute with the Great Moviemakers: The Next Generation به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.
توجه داشته باشید کتاب گفتگو در موسسه فیلم آمریکا با فیلمسازان بزرگ: نسل بعدی نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.
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.