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    Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
    Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
    Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
    Ebook247 pages4 hours

    Moviemakers' Master Class: Private Lessons from the World's Foremost Directors

    By Laurent Tirard

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    About this ebook

    From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the world's greatest directors on how they make films--and why

    Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of today's most important filmmakers to get to the core of each director's approach to film, exploring the filmmaker's vision as well as his technique, while allowing each man to speak in his own voice.

    Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesn't work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.

    Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.

    LanguageEnglish
    PublisherMacmillan Publishers
    Release dateOct 10, 2002
    ISBN9781429934367
    Moviemakers' Master Class: Private Lessons from the World's Foremost Directors
    Author

    Laurent Tirard

    Laurent Tirard was born in 1967. He studied filmmaking at New York University, from which he graduated with honors in 1989. After a year as a script reader for the Warner Bros. studio in Los Angeles, he became a journalist for the French film magazine Studio. There, over the course of seven years, he screened and reviewed more than a hundred films per year. He also had the opportunity to interview all the great directors of the day, including Martin Scorsese, Jean-Luc Godard, John Woo, Steven Spielberg, Woody Allen, and many others, engaging them in lengthy discussions on the most practical aspects of filmmaking for a series called Leçons de Cinéma. For the last four years, he has put all his lessons into practice, first as a screenwriter on French features and TV movies, then as the director of two short films, Reliable Sources and Tomorrow is Another Day. The first received the 1999 Panavision Award at the Avignon/New York Film Festival; the second was selected for the 2000 Telluride Film Festival. Laurent Tirard is currently working on his first feature film as a director. He lives in Paris with his wife and son.

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      Book preview

      Moviemakers' Master Class - Laurent Tirard

      GROUNDBREAKERS

      John Boorman

      Sydney Pollack

      Claude Sautet

      The title of this section might make the reader think that these three directors have a conventional approach to filmmaking. Nothing could be more untrue. However, with the exception of Jean-Luc Godard (whose interview appears in the last section), these are the only directors in the book who started their careers before the cultural upheavals of the late sixties, and thus probably are the ones who started out in the most conservative environment. For them, breaking out of the mold of tradition and finding a personal voice were certainly harder tasks than they were for directors of the generations that followed. These directors became auteurs at a time when that notion didn’t yet exist.

      e9781429934367_i0002.jpg

      JOHN BOORMAN

      b. 1933, London, England

      Though I had never met John Boorman before interviewing him, actors from his films whom I had interviewed all agreed that he was the nicest man they’d ever worked with. He is, indeed, someone who immediately makes you feel comfortable. Boorman seems particularly tranquil and looks as though he could deal with any situation, however catastrophic, with a shrug and a smile. We met at the time that The General was being released, in 1998. I tried to compliment him on the film but did it so clumsily that I think he got the wrong idea. I said if I hadn’t seen his name on the credits, I would have thought the film had been directed by a twenty-year-old. He seemed perplexed by that remark, but what I had meant was that I found it amazing that after all these years of directing films, he could still exhibit the freshness to make one so modern.

      Starting as a director in 1965, John Boorman has always tried—sometimes without success, it is true—to explore all forms of cinema, from the experimental genre film Point Blank to the revisionist operatic epic Excalibur. Thanks to our conversation, I now know what it was that made his version of the Arthurian legend somehow more ambiguous and more exciting than other cinematic

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