search for books and compare prices
Price
Store
Arrives
Preparing
Shipping
Jump quickly to results on these stores:
The price is the lowest for any condition, which may be new or used; other conditions may also be available.
Jump down to see edition details for: Hardcover
Bibliographic Detail
Publisher
Alfred a Knopf Inc
Publication date
February 21, 2006
Pages
676
Binding
Hardcover
Book category
Adult Non-Fiction
ISBN-13
9781400040544
ISBN-10
140004054X
Dimensions
2 by 6.75 by 9.50 in.
Weight
2.55 lbs.
Availability§
Publisher Out of Stock Indefinitely
Original list price
$35.00
§As reported by publisher
Amazon.com says people who bought this book also bought:
Scorsese on Scorsese | Conversations at the American Film Institute With the Great Moviemakers | Casablanca
Scorsese on Scorsese | Conversations at the American Film Institute With the Great Moviemakers | Casablanca
Summaries and Reviews
Summary
A collection of interviews with some of the world's leading directors, producers, cinematographers, and screenwriters provides a revealing glimpse of the filmmaking art, with commentary by King Vidor, Howard Hawks, Hal Wallis, William Wyler, George Stevens, Alfred Hitchcock, George Cukor, Fritz Lang, Federico Fellini, and others. 15,000 first printing.
Amazon.com description: Product Description: The first book to bring together these interviews of master moviemakers from the American Film Instituteâs renowned seminarsâa series that has been in existence for almost forty years, since the founding of the Institute itself.
Here are the legendary directors, producers, cinematographers and writersâthe great pioneers, the great artistsâwhose work led the way in the early days of moviemaking and still survives from what was the twentieth centuryâs art form. The book is editedâwith commentariesâby George Stevens, Jr., founder of the American Film Institute and the AFI Center for Advanced Film Studiesâ Harold Lloyd Master Seminar series.
Here talking about their work, their artâpicture making in generalâare directors from King Vidor, Howard Hawks and Fritz Lang (âI learned only from bad filmsâ) to William Wyler, George Stevens and David Lean.
Here, too, is Hal Wallis, one of Hollywoodâs great motion picture producers; legendary cinematographers Stanley Cortez, who shot, among other pictures, The Magnificent Ambersons, Since You Went Away and Shock Corridor and George Folsey, who was the cameraman on more than 150 pictures, from Animal Crackers and Marie Antoinette to Meet Me in St. Louis and Adamâs Rib; and the equally celebrated James Wong Howe.
Here is the screenwriter Ray Bradbury, who wrote the script for John Hustonâs Moby Dick, Fahrenheit 451 and The Illustrated Man, and the admired Ernest Lehman, who wrote the screenplays for Sabrina, Whoâs Afraid of Virginia Woolf and North by Northwest (âOne day Hitchcock said, âIâve always wanted to do a chase across the face of Mount Rushmore.ââ).
And here, too, are Ingmar Bergman and Federico Fellini (âMaking a movie is a mathematical operation. Itâs absolutely impossible to improviseâ).
These conversations gathered togetherâand published for the first timeâare full of wisdom, movie history and ideas about picture making, about working with actors, about how to tell a story in words and movement.
A sample of what the moviemakers have to teach us:
Elia Kazan, on translating a play to the screen: âWith A Streetcar Named Desire we worked hard to open it up and then went back to the play because weâd lost all the compression. In the play, these people were trapped in a room with each other. As the story progressed I took out little flats, and the set got smaller and smaller.â
Ingmar Bergman on writing: âFor half a year I had a picture inside my head of three women walking around in a red room with white clothes. I couldnât understand why these damned women were there. I tried to throw it away . . . find out what they said to each other because they whispered. It came out that they were watching another woman dying. Then the screenplay startedâbut it took about a year. The script always starts with a picture . . . â
Jean Renoir on actors: âThe truth is, if you discourage an actor you may never find him again. An actor is an animal, extremely fragile. You get a little expression, it is not exactly what you wanted, but itâs alive. Itâs something human.â
And Hitchcockâon Hitchcock: âGive [the audience] pleasure, the same pleasure they have when they wake up from a nightmare.â
Here are the legendary directors, producers, cinematographers and writersâthe great pioneers, the great artistsâwhose work led the way in the early days of moviemaking and still survives from what was the twentieth centuryâs art form. The book is editedâwith commentariesâby George Stevens, Jr., founder of the American Film Institute and the AFI Center for Advanced Film Studiesâ Harold Lloyd Master Seminar series.
Here talking about their work, their artâpicture making in generalâare directors from King Vidor, Howard Hawks and Fritz Lang (âI learned only from bad filmsâ) to William Wyler, George Stevens and David Lean.
Here, too, is Hal Wallis, one of Hollywoodâs great motion picture producers; legendary cinematographers Stanley Cortez, who shot, among other pictures, The Magnificent Ambersons, Since You Went Away and Shock Corridor and George Folsey, who was the cameraman on more than 150 pictures, from Animal Crackers and Marie Antoinette to Meet Me in St. Louis and Adamâs Rib; and the equally celebrated James Wong Howe.
Here is the screenwriter Ray Bradbury, who wrote the script for John Hustonâs Moby Dick, Fahrenheit 451 and The Illustrated Man, and the admired Ernest Lehman, who wrote the screenplays for Sabrina, Whoâs Afraid of Virginia Woolf and North by Northwest (âOne day Hitchcock said, âIâve always wanted to do a chase across the face of Mount Rushmore.ââ).
And here, too, are Ingmar Bergman and Federico Fellini (âMaking a movie is a mathematical operation. Itâs absolutely impossible to improviseâ).
These conversations gathered togetherâand published for the first timeâare full of wisdom, movie history and ideas about picture making, about working with actors, about how to tell a story in words and movement.
A sample of what the moviemakers have to teach us:
Elia Kazan, on translating a play to the screen: âWith A Streetcar Named Desire we worked hard to open it up and then went back to the play because weâd lost all the compression. In the play, these people were trapped in a room with each other. As the story progressed I took out little flats, and the set got smaller and smaller.â
Ingmar Bergman on writing: âFor half a year I had a picture inside my head of three women walking around in a red room with white clothes. I couldnât understand why these damned women were there. I tried to throw it away . . . find out what they said to each other because they whispered. It came out that they were watching another woman dying. Then the screenplay startedâbut it took about a year. The script always starts with a picture . . . â
Jean Renoir on actors: âThe truth is, if you discourage an actor you may never find him again. An actor is an animal, extremely fragile. You get a little expression, it is not exactly what you wanted, but itâs alive. Itâs something human.â
And Hitchcockâon Hitchcock: âGive [the audience] pleasure, the same pleasure they have when they wake up from a nightmare.â
Editions
Hardcover
The price comparison is for this edition
With Stevens (other contributor) |
from Alfred a Knopf Inc (February 21, 2006)
9781400040544 | details & prices | 676 pages | 6.75 × 9.50 × 2.00 in. | 2.55 lbs | List price $35.00
About: A collection of interviews with some of the world's leading directors, producers, cinematographers, and screenwriters provides a revealing glimpse of the art of filmmaking.
About: A collection of interviews with some of the world's leading directors, producers, cinematographers, and screenwriters provides a revealing glimpse of the art of filmmaking.
Pricing is shown for items sent to or within the U.S., excluding shipping and tax. Please consult the store to determine exact fees. No warranties are made express or implied about the accuracy, timeliness, merit, or value of the information provided. Information subject to change without notice. isbn.nu is not a bookseller, just an information source.