By Gary Morris
‘Action!’ provides nineteen notable interviews with administrators previous and current, from around the globe, operating in various genres, budgets and construction environments from significant studios to indie and DIY. the result's a colourful staff portrait of the filmmaking paintings, one of those pageant in phrases that explores every little thing from the big artistic and private satisfactions to the demanding situations and frustrations of the process.
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Additional info for Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran
And that made him suffer. He suffered, like all directors, from denial. And that had its good and bad effects. When you’re denied something, you’ve got to find a substitute. And your ability to find a substitute is the measure of your strength–of whether you’ve got any or not. Outtakes I spoke to Dwan a few months after Howard’s and my interview. Below are some excerpts from that talk. Dwan is 95 years old. He had broken his back a few months prior to my visit, but was sufficiently recovered to come to the door (after numerous knocks) and usher me in, with the aid of a cane.
If I said, “This scene needs more balls,” or “that light’s fucked up,” she’d walk out. So with her I had to be devious. But I did arrive at it. For instance, her dance in Written on the Wind. We almost came to an éclat about that. I had to call in Zugsmith, and he took her aside and said, “Now look, I wanted you to dance completely nude in this scene. ” So finally she did it. Rock Hudson was not an educated man, but that very beautiful body of his was putty in my hands. And there was a certain dialectic at work in his casting, especially after Magnificent Obsession.
Filmmakers as disparate as Fassbinder and Todd Haynes have acknowledged his influence, with the former remaking All That Heaven Allows as Ali: Fear Eats the Soul (1974) and the latter reproducing Sirk’s style verbatim in Far from Heaven (2002). ” This interview finds Sirk, who never gave a bad interview, at his most voluble. It took place in spring 1979, when Michael and Jane Stern spent two weeks with Sirk and his wife Hilde in Lugano, Switzerland. Screenwriter George Zuckerman and producer Zugsmith add some thoughts about Sirk at the end.