The_Film_That_Changed_My_Life

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8½ 81 I was thinking about the one time I saw Fellini on an airplane. I was in business class, and he was sitting up in first class. I walked by him five times wanting to talk to him, but I was too shy to do it. It’s not something I’m known for, shyness or reticence. I told people, and they couldn’t believe it. It was the only time in my life that I wanted to talk to someone and was not capable of doing it. I had just made a film called Always about the end of my first marriage, and in 1983 I was cutting Always. It was a few years before he died, and he was on the plane with Giulietta Masina. And I just wanted so much to go up to him. I thought, “He’s not going to know my movies; what am I going to say to him?” I remember thinking, this movie, I already had a deal for it, and I knew it was going to play in Rome. I was already fantasizing about him seeing this movie and telling me, “Yes, good.” It was a really strange, strong regret I had when he died. When I finished Venice/Venice I thought to myself, “This is going to be a really hard movie to get an audience for because it messes around with time and things, which I know audiences don’t like.” I also thought, “I really would be completely proud to show this to Fellini.” I remember thinking that. I was completely right; it was the hardest movie I had to get an audience for. It’s my favorite of my movies. It most specifically captures my sense of life—which I’m sure 8½ captured for Fellini, his sense of life. Just like Bob Fosse in All That Jazz captured what his life was like. What’s the proper way to see this film? Jaglom: On the big screen. In your house, if you have a big screen. With friends? Jaglom: No, you should see this alone. This is going to sound pretentious, especially in print, and I realize this, but there is a difference between movies and films for me. This is a film. It can also be a movie, but a movie is popular entertainment, which is fun to see with others or in an audience. A film is something more like a painting—something you can absorb most effectively by yourself in a dark room where light is pinpointed on it.
9 Brian Herzlinger E.T.: The Extra-Terrestrial Herzlinger has no reservations about declaring admiration for E.T.: The Extra- Terrestrial. Once you hear about the impact the film had on him, it comes as no surprise that his own breakout film centers on E.T.’s starlet, Drew Barrymore. Says Herzlinger, “I think it is the best movie ever made, because it works on every level, every demographic. It really is that universal appeal/theme/ approach that anybody—whatever your age is—can grasp and enjoy it to the utmost.” Brian Herzlinger, selected filmography: My Date with Drew (2004) Baby on Board (2009) E.T.: The Extra-Terrestrial 1982 Directed by Steven Spielberg Starring Henry Thomas, Drew Barrymore, Robert MacNaughton, Dee Wallace, Peter Coyote, and C. Thomas Howell How would you describe E.T. to somebody who has never seen it? Herzlinger: E.T. is a story about friendship that knows no bounds. A little alien is left behind by his spaceship and his friends, and winds up being saved by a young boy who is in need of a friend. And it’s a friendship that forms that knows no limits to the universe. And then they have to get him back to the ship. 82
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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
Page 39 and 40: 30 Danny Boyle on the ground, they
Page 41 and 42: 32 Danny Boyle shooting schedule; h
Page 43 and 44: 34 Danny Boyle And, as a filmmaker,
Page 45 and 46: 36 Danny Boyle nonsense. But, it se
Page 47 and 48: 38 Danny Boyle Boyle: Oh yeah, it
Page 49 and 50: 40 Bill Condon How would you descri
Page 51 and 52: 42 Bill Condon Condon: Oh, I think
Page 53 and 54: 44 Bill Condon that great ending. I
Page 55 and 56: 46 Bill Condon And then there’s a
Page 57 and 58: 48 Richard Kelly Terry Gilliam call
Page 59 and 60: 50 Richard Kelly access passes to t
Page 61 and 62: 52 Richard Kelly Kelly: It makes it
Page 63 and 64: 54 Richard Kelly they are not seen
Page 65 and 66: 56 Peter Bogdanovich Texasville (19
Page 67 and 68: 58 Peter Bogdanovich How did it cha
Page 69 and 70: 60 Peter Bogdanovich everything the
Page 71 and 72: 62 Peter Bogdanovich And you were p
Page 73 and 74: 7 John Dahl A Clockwork Orange John
Page 75 and 76: 66 John Dahl For example, I would s
Page 77 and 78: 68 John Dahl way around. Art consis
Page 79 and 80: 70 John Dahl Dahl: It’s interesti
Page 81 and 82: 72 John Dahl My only other criticis
Page 83 and 84: 8 Henry Jaglom 8½ Henry Jaglom cha
Page 85 and 86: 76 Henry Jaglom was going through.
Page 87 and 88: 78 Henry Jaglom out of control. A g
Page 89: 80 Henry Jaglom Over the years, I
Page 93 and 94: 84 Brian Herzlinger during the scen
Page 95 and 96: 86 Brian Herzlinger that world brou
Page 97 and 98: 88 Brian Herzlinger You met Spielbe
Page 99 and 100: 90 Brian Herzlinger And he says,
Page 101 and 102: 92 Brian Herzlinger in theaters bec
Page 103 and 104: 10 Alex Gibney The Exterminating An
Page 105 and 106: 96 Alex Gibney one was political in
Page 107 and 108: 98 Alex Gibney There’s one scene
Page 109 and 110: 100 Alex Gibney you’ve had to do
Page 111 and 112: 102 Alex Gibney I would say that th
Page 113 and 114: 11 Kimberly Peirce The Godfather Pe
Page 115 and 116: 106 Kimberly Peirce and he gets him
Page 117 and 118: 108 Kimberly Peirce Have you ever r
Page 119 and 120: 12 Steve James Harlan County U.S.A.
Page 121 and 122: 112 Steve James later. It’s so tr
Page 123 and 124: 114 Steve James an outsider. She ha
Page 125 and 126: 116 Steve James out there, which wa
Page 127 and 128: 118 Steve James James: Sure. It was
Page 129 and 130: 120 Steve James give-and-take, then
Page 131 and 132: 122 Steve James 28 Up and The Times
Page 133 and 134: 124 Austin Chick Can you tell me ab
Page 135 and 136: 126 Austin Chick Chick: Yeah, I mea
Page 137 and 138: 128 Austin Chick Chick: The very fi
Page 139 and 140: 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
Page 145 and 146:
136 Guy Maddin It has a great shape
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138 Guy Maddin Maddin: Oh my God, i
Page 149 and 150:
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
Page 159 and 160:
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
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,
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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
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260 George A. Romero The Dark Half
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262 George A. Romero I’ve never h
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264 George A. Romero Pressburger an
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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.
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276 Frank Oz It’s amazing how you
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30 John Waters The Wizard of Oz The
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280 John Waters And then, the seldo
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282 John Waters countries—maybe t
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Acknowledgments First, thanks to th
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Index A accidents, on-set, 148-149
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288 Index Coutard, Raoul, 257 Cowar
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290 Index Hoop Dreams, 117, 118, 12
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292 Index My Beautiful Laundrette,
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294 Index special effects, 223, 224
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