Film Directors on Directing
John Andrew Gallagher
Format: PDF / Kindle (mobi) / ePub
Independent director and screenwriter John Andrew Gallagher interviews 21 filmmakers on the craft of motion picture directing. Francois Truffaut, Michael Cimino, Ulu Grosbard, Dennis Hopper, Alan Parker, Susan Seidelman, Joan Micklin Silver and many others reveal behind-the-scenes anecdotes about well known films and stars.
The big gamblers who spend millions per film as well as the colorful low-budget kings provide an intriguing look at the mechanics of filmmaking.
Choosing and preparing the screenplay, working with actors and crew, dealing with the distributor, and advice to young filmmakers--all are covered in this book's illuminating interviews.
film their blase reaction is almost gratuitous, making Dern's action seem unmotivated. It was supposed to be indicated that they had been disconnected from things like trees for so long that they no longer cared. Not that they were unthinking, unfeeling individuals, but that they'd simply lost contact. This tragedy was to have fueled Dern's action. He was to have killed them as much in a rage against them as against a world, a system that could come to such a pass. MPC: You are now directing your
when confronted with "Why not?" and they're told "You can't do it" just say "OK." I'm a person who will always ask "Why not?" You can do anything safely, you can do anything if you use your head, and it doesn't have to cost a trillion dollars. JAG: Now you're not only a writer-producer-director, you're a movie mogul. JG: A mini-mogul! It came about in the way that Bertolt Brecht said, "What is the robbing of a bank compared to the founding of a bank?" I just realized that at a certain point, if
prizes and got some nice reviews, but never really found a distributor. We just got some interest to rerelease it and put it on video. I still know a lot of people who were in the film and are old friends and I've always wanted to do what we did in 1968, get those people together and come up with a story we could shoot now, using pieces of the film we made twenty years ago. I've been paying rent on the negative storage all this time. JAG: When did you go out to Hollywood for the first time? JGA:
only do boards for the effects scenes though. I'll storyboard the way I'd like to see it done in the best of all possible worlds. Then I'll show it to the effects guys and they'll suggest any changes to make it easier or even possible, but usually I'll shoot pretty much what I draw. J A G : H o w is your working relationship with Dennis Paoli, the co-writer of Re-Animator and From Beyond? SG: We go all the way back to high school. We had a comedy group together and we used to write sketches and
cinematic actors. I've never seen anyone with such economy of means. I'll never forget filming this great scene between James and John, a long uninterrupted dolly shot. John Mills was brilliant in the scene. It was a pyrotechnical display of a man getting drunk over a period of four minutes. He got drunker and drunker. It was really his scene. James did absolutely nothing, it seemed. The whole crew applauded John Mills at the end of the take. Next day in dailies, you could only see James Mason on