The_Film_That_Changed_My_Life

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Index 291 language, role of, 65, 143, 179, 180–181, 185, 254–255 Las Hurdes, 94, 101 Last Picture Show, 170 Last Words of the Executed (Elder), 110 laughter in tragedy, 165–166 Le beau serge, 250 Le voyage en ballon, 145–151 Lean, David, 220 Leigh, Janet, 266 Lemmon, Jack, 148 Leone, Sergio, 152–158 Leung Chiu Wai, Tony, 216 life experiences, impacting movie experiences, 231 lighting, 268–269 Linklater, Richard, 195–201, 237, 239 Little Miss Marker, 171 Little Shop of Horrors, 275 Loach, Ken, 191 Lord, Phil, 241 Lord of the Rings, 225, 230 Los Angeles Film Critics Association, 53 Los olvidados, 144 Love and Death, 16, 17 “Love Conquers All,” 48, 49 Love Story, 160, 163 Lover’s Wind, The, 148 Lucas, George, 31, 275 Lynch, David, 280 Lys, Lya, 133, 135, 138 M Maddin, Guy on audience expectations, 137 on dreamlike qualities, 143–144 film selection (see L’ âge d’or) filmmaking styles influencing, 136 filmography, 132 on part-talkie films, 138 on Surrealist Manifesto, 134–135 Magic Lantern, The (Bergman), 182 “Makin’ It” (song), 11 Making of the Wizard of Oz, The, 283 Malcolm, Janet, 118 Mallrats, 237 Man, Glenn, 41 Man and a Woman, A, 79 Man Who Loved Women, The, 252–253 Mancini, Henry, 271 marketing campaigns, 83 Married Woman, A, 248 Marshall, Frank, 172 Martin Scorsese: The First Decade (Kelly), 197 Maslin, Janet, 206 mass media, and social responsibility, 67–68 Mastroianni, Marcello, 75, 76 Maysles, Albert, 111, 114 Maysles, David, 111, 114 McBride, Joseph, 270 McCormack, Patty, 281 McCormick, Robert, 62 McKeown, Charles, 50 McQueen, Steve, 32 Mean Streets, 211, 215–221 media savvy, 120, 185–186 melodrama, 137, 138, 140, 268, 281 Melville, Jean-Pierre, 219 Mercy Seat, The, 245, 256 metafilms, 75 Metallica: Some Kind of Monster, 116 Metropolis, 50 Milius, John, 31 Miller, Chris, 241–244 Modine, Matthew, 72 Modot, Gaston, 133, 135, 136, 138 Mondo Trasho, 279 Monster, 53 Monsters, Inc., 167, 168, 169, 171, 173, 228 Moonstruck, 208 movies vs. films, 81
292 Index My Beautiful Laundrette, 191 My Date with Drew, 90 My Life to Live, 256 N National Lampoon Goes to the Movies, 80 Naughton, David, 2, 3–4, 7, 9–11 Neeson, Liam, 46 neorealism, 161–162 New Wave, 40, 41, 220, 245, 252 New York, New York, 197 New York Times, 42, 44, 58–59, 179, 236–237, 249 Newman, David, 45 Newton Boys, The, 198 Nichols, Mary, 20 Night of the Living Dead, 259 Nine, 80 Northfork, 152, 154 O O’Brien, Willis, 226, 230 Offenbach, Jacques, 260, 261 Old Yeller, 85 Once Upon a Time in America, 152–159 Once Upon a Time in the West, 154 O’Neal, Ryan, 168 O’Neal, Tatum, 168, 172 120 Days of Sodom (Marquis de Sade), 141 Open City, 160–166 Oscar, 228–229 Othello, 63 Other Side of the Wind, The, 62 Oz, Frank on B-movie qualities, 268 on directing actors, 273–274 on editing, 269 film selection (see Touch of Evil) filmography, 265 on rereleases, 275–276 P Pacino, Al, 109 Pal, George, 150 Paper Moon, 167–174 Parents’ Hearts (play), 212–213 Paris, Texas, 124, 130 Parsons, Estelle, 41, 46 part-talkies, 138 Passion of Anna, The, 14 Peeping Tom, 263 Peirce, Kimberly, 104–109 Penn, Arthur, 39 Persona Annie Hall scenes and, 15 artistic freedom and, 183–184 audience relationship with, 178, 185–186 autobiographical elements, 182–183 credits, 175 description and scene selections, 176, 177, 179–180 eroticism and, 181–182 influence of, 175, 178–179 interpretation variations, 186–187 viewing circumstances, 134, 176–177 Peter Pan (1955 television production), 281 Phase IV, 150 Pingatore, Gene, 118 Plan 9 from Outer Space, 225 plot-free movies, 234, 235 Polish, Michael, 152–159 Pollard, Michael J., 41 Powell, Michael, 259, 261, 262–263, 264 Pressburger, Emeric, 259, 264 protagonists, loathsome, 199–200
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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
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24 John Landis The 7th Voyage of Si
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224 John Landis That’s funny, bec
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226 John Landis People have a misun
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228 John Landis completely dazzles
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230 John Landis Casablanca or Citiz
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25 Kevin Smith Slacker For director
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234 Kevin Smith very clever, very f
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236 Kevin Smith place I’d really
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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 and 282: 272 Frank Oz coffeehouse. That was
Page 283 and 284: 274 Frank Oz know what I’m doing.
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: 290 Index Hoop Dreams, 117, 118, 12
Page 303 and 304: 294 Index special effects, 223, 224
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