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The first book to bring together these interviews of master

moviemakers from the American Film Institute’s renowned seminars,

Conversati*** with the Great Moviemakers offers an unmatched

history of American cinema in the words of its greatest

practitioners.

Here are the incomparable directors Frank Capra,

Elia Kazan, King Vidor, David Lean, Fritz Lang (“I learned only

from bad films”), William Wyler, and Ge***e Stevens; renowned

producers and cinematographers; celebrated screenwriters Ray

Bradbury and Ernest Lehman; as well as the immortal Ingmar Bergman

and Federico Fellini (“Making a movie is a mathematical operation.

It’s absolutely impossible to improvise”). Taken together, these

conversati*** offer uniquely intimate access to the thinking, the

wisdom, and the genius of cinema’s most talented pioneers.

Introduction 

HAROLD LLOYD 

RAOUL WALSH 

KING VIDOR 

FRITZ LANG

FRANK CAPRA

HOWARD HAWKS 

JAMES WONG HOWE 

MERVYN LEROY 

ROUBEN MAMOULIAN 

GEORGE FOLSEY 

WILLIAM WYLER 

GEORGE STEVENS 

WILLIAM CLOTHIER 

ALFRED HI***HCOCK 

GEORGE CUKOR 

……

Ge***e Stevens, Jr., is a writer, director, producer, and founder of the American Film Institute. He is the author of the acclaimed play Thurgood, which ran on Broadway and was filmed for HBO. In 2013 he received an Honorary Academy Award from the Motion Picture Academy. He has received fifteen Emmys, two Peabody Awards, the Humanitas Prize, and eight Writers Guild Awards for his producti***, including the annual Kennedy Center Honors, Separate but Equal, The Murder of Mary Phagan, and We Are One: The Obama Inaugural Celebration at the Lincoln Memorial. His production The Thin Red Line was nominated for seven Academy Awards, including Best Picture. In 2009 President Obama named him co-chairman of the President’s Committee on the Arts and Humanities. Stevens started out working with his father, Ge***e Stevens, on Shane, Giant, and The Diary of Anne Frank and in 1962 was named head of the United States Information Agency’s motion picture division by Edward R. Murrow. He lives in Washington, D.C.

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书籍介绍

The first book to bring together these interviews of master moviemakers from the American Film Institute’s renowned seminars—a 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 writers—the great pioneers, the great artists—whose work led the way in the early days of movie*** and still survives from what was the twentieth century’s art form. The book is edited—with commentaries—by Ge***e Stevens, Jr., founder of the American Film Institute and the AFI Center for Advanced Film Studies’ Harold Lloyd Master Seminar series.

Here talking about thei***ork, their art—picture *** in general—are directors from King Vidor, Howard Hawks and Fritz Lang (“I learned only from bad films”) to William Wyler, Ge***e Stevens and David Lean.

Here, too, is Hal Wallis, one of Hollywood’s great motion picture producers; legendary cinematographers Stanley Cortez, who s***, among other pictures, The Magnificent Ambers***, Since You Went Away and Shock Corridor and Ge***e Folsey, who was the cameraman on more than 150 pictures, from Animal Crackers and Marie Antoinette to Meet Me in St. Louis and Adam’s Rib; and the equally celebrated James Wong Howe.

Here is the screenwriter Ray Bradbury, who wrote the script for John Huston’s Moby Dick, Fahrenheit 451 and The Illustrated Man, and the admired Ernest Lehman, who wrote the screenplays for Sabrina, Who’s Afraid of Virginia Woolf and North by Northwest (“One day Hitchcock said, ‘I’ve always wanted to do a chase across the face of Mount Rushmore.’”).

And here, too, are Ingmar Bergman and Federico Fellini (“Making a movie is a mathematical operation. It’s absolutely impossible to improvise”).

These conversati*** gathered together—and published for the first time—are full of wisdom, movie history and ideas about picture ***, 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: “With A Streetcar Named Desire we worked hard to open it up and then went back to the play because we’d 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.”

Ingmar Bergman on writing: “For half a year I had a picture inside my head of three women walking around in a red room with white clothes. I couldn’t understand why these ***ed 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 anothe***oman dying. Then the screenplay started—but it took about a year. The script always starts with a picture . . . ”

Jean Renoir on actors: “The 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 it’s alive. It’s something human.”

And Hitchcock—on Hitchcock: “Give [the audience] pleasure, the same pleasure they have when they wake up from a nightmare.”