By Andrew Sarris
Andrew Sarris, essentially the most influential of the more youthful critics on the time this booklet used to be written, accrued interviews with 40 of the relevant figures of recent film-making, discussing their very own paintings and the movie as an paintings form.
The administrators: Michelangelo Antonioni, Ingmar Bergman, Robert Bresson, Peter Brook, Luis Bunuel, Claude Chabrol, George Cukor, Clive Donner, Carl Dreyer, Sergei Eisenstein, Federico Fellini, John Ford, Jean-Luc Godard, Howard Hawks, Alfred Hitchcock, John Huston, Buster Keaton, Akira Kurosawa, Fritz Lang, David Lean, Joseph Losey, Ernst Lubitsch, Rouben Mamoulian, Max Ophuls, Pier Paolo Pasolini, Sam Peckinpah, Abraham Polonsky, Otto Preminger, Nicholas Ray, Satyajit Ray, Leni Riefenstahl, Jean Renoir, Alain Resnais, Roberto Rossellini, Josef von Sternberg, Erich von Stroheim, Preston Sturges, Francois Truffaut, Orson Welles.
"More inside of details on movie directing than has ever been formerly assembled in one quantity. The interviewers' unprecedented familiarity with the medium visibly stimulates the director to larger articulateness approximately his craft."
Table of Contents :
Introduction: the autumn and upward thrust of the movie Director......9
Joseph Losey and Nicholas Ray......322
Pier Paolo Pasolini......366
Josef von Sternberg......479
Erich von Stroheim......500
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Additional resources for Interviews with Film Directors
Train a hard-to-handle horse for the grand prize; one must have a clear head, meticulousness, firm and exact . 4 0 calculations. Add to this an always even disposition and a patience that is not of this world. To shoot a film is to organize an entire universe, but the chief elements are the industry, the money, the fabrica tion, the point of view, the development and the print, a schedule to follow, though it is rarely followed, a meticu lous plan of action in which irrational factors make up the ' highest percentage.
It broke the umbilical cord, and it lives its own sep arate life, surprisingly sterile, dulled and ·degenerated. Collective creativity, the humble anonymous man are rel ics, forgotten and. buried, destitute of value. My little griefs and moral stomach aches are examined with a mi croscope sub specie aeternitatjs. The fear of the dark that characterizes subjectivism and the scrupulous conscience has become the great thing, and · we run finally into the dead end where we argue with each other on the subject 44 of our solitude, without any of us listening to the others or even noticing that we have pressed so close to one another as almost to die of suffocation.
1947-Boat for the Indies, Night Is My Future. 1948-Port of Call, Prison. · 1949Three Strange Loves, Till Jc:iy. 1950--Illicit Interlude, High Tension. 1952-Waiting Women, Monika. 1953-The Naked Night. 1954-A Les:;on n i Love. 1955'-Dreams, Smiles of a Summer Night. 1956The Seventh Seal. 1957-Wild Strawberries, Brink of Life. 1958The Magician. 1959-The Virgin Spring. 1960-The Devil's Eye. 1961-Through a: Glass Darkly. 1962-Winter Light. 1963-The Si lence. 1 964-All These Women. 196&-:-Persona. 1968-Hour of the Wolf, Shame.