The_Film_That_Changed_My_Life

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Touch of Evil 273 To me, I thought a lot about the childlike innocence that Jim Henson and Orson had. Certainly, they’re both iconoclasts, but in that there’s this childlike innocence in both of them, and that struck me. I don’t think it has any bearing on Touch of Evil, but it struck me that two great men like that had that same kind of feeling. We were talking about people who were naturals for big characters. Welles was lucky in the fact that he was always the most forceful, charismatic guy in the room. He was the one who could drive the train. But I know you had disagreements with Marlon Brando on The Score. What did you learn from that? Is there something that you took from that experience about dealing with big personalities on the set? Oz: Yeah, I learned how to be a better director. I learned that even big personalities like Marlon were scared, and I should’ve nourished them, that Marlon needed support and I was trying to be ultrastrong because I wouldn’t let him do in my movie what he did in The Island of Dr. Moreau. I was not going to let him do that. He tried but I stopped him. Unfortunately, I stopped him in a way that was adversarial instead of supportive. I certainly learned from my mistakes from Marlon there. Not to say that he was the nicest guy in the world. [laughs] Yeah, we’re saying big personalities and all that that implies. . . . Oz: Nevertheless, he taught me that even the biggest of actors are always scared. I learned to be more supportive as a director. Do you think, and we’re getting a tad off topic, but do you think ultimately that served the movie, that tension? Oz: No, he wouldn’t let me really direct him. I think it was one scene he let me direct him. I had to really make choices; I had to have different camera angles and make the choices in editing. That’s what I had to do. Thank God De Niro was there. Bob was a tremendous help. I unfortunately kinda had to break Brando down. I mean, in the sense of, “Stop playing a character.” I went over to Marlon during the scene with Bob and I said, “Gee, I really like that.” I knew he couldn’t give a shit what I thought, and he said, “I don’t
274 Frank Oz know what I’m doing.” That’s kinda what I wanted. I didn’t want a big bravura performance, I just wanted the character. To me the big mistake would have been, “Oh, Marlon Brando, Robert De Niro! First time together on film! You gotta have big explosives, like Al Pacino and Bob!” Well, sorry, that’s not my job; my job is to make a believable character in the moment. Because the producers and I wouldn’t let him do what he wanted to do, he kinda only did himself. What you see on the screen is Marlon, which is what I wanted. In dealing with big personalities you talk about nurturing people, and Welles was known for doing this. He would never necessarily pit people against one another. He was one of these guys that thought that film was a family. Oz: Well, yeah. On the other hand, he asked Jim Henson and me to sell a filmed talk show. He asked Jim and me to dinner, and a few days after dinner we went on his set and he was absolutely effusive in his caring for Jim and me, but he was miserable to the crew. [laughs] So I guess he changed later in life then? Oz: [laughs] I don’t know, but he was absolutely wonderful to Jim and me. It’s not that he was miserable; he just had absolutely no patience with the crew whatsoever. Maybe he got a crew that was not very good. I’m sure his outlook would still be the same, but that particular instance—and who knows, you wake up in the morning, you’re grouchy, who knows—but I do believe that the family thing does make sense with him. Did that ever surface? Is that in the archives someplace? Oz: Yeah. It’s embarrassing because I’m the young kid who’s trying to make a name for myself, and I’m the one who talks a lot and Jim doesn’t. It’s just embarrassing. It’s around somewhere. I try to avoid seeing it. It’s in an archive someplace in the Muppets studio. Let’s come back to Touch of Evil. There are a couple of things we didn’t mention, and maybe they’re not important for the conversation, but it was originally called Badge of Evil . . . Oz: I didn’t know that.
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Danny Boyle on Apocalypse Now Kevin
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Library of Congress Cataloging-in-P
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Contents Introduction … vi 1 Edga
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Introduction Movies are personal to
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viii Introduction For me, a sevente
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2 Edgar Wright How would you descri
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4 Edgar Wright an extremely gory Ri
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6 Edgar Wright going on. People are
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8 Edgar Wright Wright: The thing th
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10 Edgar Wright And then the deadpa
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12 Edgar Wright when a director has
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14 Rian Johnson How would you descr
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16 Rian Johnson [laughter] So there
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18 Rian Johnson The Godfather, and
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20 Rian Johnson creates the beauty
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22 Rian Johnson Johnson: Oh God, ar
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24 Rian Johnson As a filmmaker it
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26 Danny Boyle Starring Martin Shee
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28 Danny Boyle Boyle: [laughs] It h
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30 Danny Boyle on the ground, they
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32 Danny Boyle shooting schedule; h
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34 Danny Boyle And, as a filmmaker,
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36 Danny Boyle nonsense. But, it se
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38 Danny Boyle Boyle: Oh yeah, it
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40 Bill Condon How would you descri
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42 Bill Condon Condon: Oh, I think
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44 Bill Condon that great ending. I
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46 Bill Condon And then there’s a
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48 Richard Kelly Terry Gilliam call
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50 Richard Kelly access passes to t
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52 Richard Kelly Kelly: It makes it
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54 Richard Kelly they are not seen
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56 Peter Bogdanovich Texasville (19
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58 Peter Bogdanovich How did it cha
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60 Peter Bogdanovich everything the
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62 Peter Bogdanovich And you were p
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7 John Dahl A Clockwork Orange John
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66 John Dahl For example, I would s
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68 John Dahl way around. Art consis
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70 John Dahl Dahl: It’s interesti
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72 John Dahl My only other criticis
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8 Henry Jaglom 8½ Henry Jaglom cha
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76 Henry Jaglom was going through.
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78 Henry Jaglom out of control. A g
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80 Henry Jaglom Over the years, I
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9 Brian Herzlinger E.T.: The Extra-
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84 Brian Herzlinger during the scen
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86 Brian Herzlinger that world brou
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88 Brian Herzlinger You met Spielbe
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90 Brian Herzlinger And he says,
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92 Brian Herzlinger in theaters bec
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10 Alex Gibney The Exterminating An
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96 Alex Gibney one was political in
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98 Alex Gibney There’s one scene
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100 Alex Gibney you’ve had to do
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102 Alex Gibney I would say that th
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11 Kimberly Peirce The Godfather Pe
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106 Kimberly Peirce and he gets him
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108 Kimberly Peirce Have you ever r
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12 Steve James Harlan County U.S.A.
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112 Steve James later. It’s so tr
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114 Steve James an outsider. She ha
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116 Steve James out there, which wa
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118 Steve James James: Sure. It was
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120 Steve James give-and-take, then
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122 Steve James 28 Up and The Times
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124 Austin Chick Can you tell me ab
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126 Austin Chick Chick: Yeah, I mea
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128 Austin Chick Chick: The very fi
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130 Austin Chick But this does have
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14 Guy Maddin L’âge d’or Guy M
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134 Guy Maddin a movie myself. My m
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136 Guy Maddin It has a great shape
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138 Guy Maddin Maddin: Oh my God, i
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140 Guy Maddin shooting things, I l
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142 Guy Maddin to the way we love.
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144 Guy Maddin see that the spicy,
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146 Michel Gondry How you would des
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148 Michel Gondry You’re right. I
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150 Michel Gondry I think they have
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16 Michael Polish Once Upon a Time
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154 Michael Polish because he was u
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156 Michael Polish I’ve heard it
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158 Michael Polish aspects of filmm
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17 Arthur Hiller Open City Roberto
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162 Arthur Hiller movies like that,
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164 Arthur Hiller hope I put in thi
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166 Arthur Hiller Coburn character
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168 Pete Docter How would you descr
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170 Pete Docter Docter: Yeah, I had
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172 Pete Docter Tatum O’Neal was
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174 Pete Docter meaning of the scen
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176 Atom Egoyan How would you descr
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178 Atom Egoyan It’s been suggest
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180 Atom Egoyan old quote about sto
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182 Atom Egoyan That had a huge inf
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184 Atom Egoyan Bergman was working
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186 Atom Egoyan always find that im
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20 Gurinder Chadha Purab aur Pachhi
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190 Gurinder Chadha blond hair and
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192 Gurinder Chadha My films are fr
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194 Gurinder Chadha Even now, as I
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196 Richard Linklater Raging Bull 1
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198 Richard Linklater I’ve been i
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200 Richard Linklater To see someon
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22 Jay Duplass Raising Arizona Jay
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204 Jay Duplass superbly executed
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206 Jay Duplass camera, similar to
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208 Jay Duplass And Moonstruck is t
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23 John Woo Rebel Without a Cause a
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212 John Woo I was pretty strong—
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214 John Woo —but the role went t
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216 John Woo Mean Streets came out
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218 John Woo Scorsese’s violence
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220 John Woo That’s one of the pe
Page 231 and 232: 24 John Landis The 7th Voyage of Si
Page 233 and 234: 224 John Landis That’s funny, bec
Page 235 and 236: 226 John Landis People have a misun
Page 237 and 238: 228 John Landis completely dazzles
Page 239 and 240: 230 John Landis Casablanca or Citiz
Page 241 and 242: 25 Kevin Smith Slacker For director
Page 243 and 244: 234 Kevin Smith very clever, very f
Page 245 and 246: 236 Kevin Smith place I’d really
Page 247 and 248: 238 Kevin Smith Smith: The benefit
Page 249 and 250: 240 Kevin Smith What was your react
Page 251 and 252: 242 Chris Miller When did you first
Page 253 and 254: 244 Chris Miller at the same time.
Page 255 and 256: 246 Neil LaBute The Soft Skin 1964
Page 257 and 258: 248 Neil LaBute if anyone, is short
Page 259 and 260: 250 Neil LaBute most passionate mom
Page 261 and 262: 252 Neil LaBute LaBute: Yeah, well,
Page 263 and 264: 254 Neil LaBute Such a small portio
Page 265 and 266: 256 Neil LaBute If I remember right
Page 267 and 268: 258 Neil LaBute Lachenay moves arou
Page 269 and 270: 260 George A. Romero The Dark Half
Page 271 and 272: 262 George A. Romero I’ve never h
Page 273 and 274: 264 George A. Romero Pressburger an
Page 275 and 276: 266 Frank Oz How would you describe
Page 277 and 278: 268 Frank Oz Tell me about that dis
Page 279 and 280: 270 Frank Oz There’s a story abou
Page 281: 272 Frank Oz coffeehouse. That was
Page 285 and 286: 276 Frank Oz It’s amazing how you
Page 287 and 288: 30 John Waters The Wizard of Oz The
Page 289 and 290: 280 John Waters And then, the seldo
Page 291 and 292: 282 John Waters countries—maybe t
Page 293 and 294: Acknowledgments First, thanks to th
Page 295 and 296: Index A accidents, on-set, 148-149
Page 297 and 298: 288 Index Coutard, Raoul, 257 Cowar
Page 299 and 300: 290 Index Hoop Dreams, 117, 118, 12
Page 301 and 302: 292 Index My Beautiful Laundrette,
Page 303 and 304: 294 Index special effects, 223, 224
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