With discussion Douglas with tons fir K off. Daniel author new Biografie off brooks off Richard

Earlier this month, I posted a review of the Richard Brooks’ film “The Happy Ending.” Much to my surprise and delight, I had a comment from Douglass K. Daniel, author of the new book “Tough as Nails: The Life and Films of Richard Brooks.”This is Douglass’ third book, following a comprehensive look at the TV series “Lou Grant” and a biography of Harry Reasoner.After a few e-mail exchanges, Douglass agreed to answer a few questions for me regarding Richard Brooks (above). Below is our conversation.CFB: What first interested you in Richard Brooks?DD: When I hit on the idea of a Richard Brooks biography, I revisited his filmography. I knew about “In Cold Blood,” of course, and “Elmer Gantry.â€!  And I remember seeing “Bite the Bullet” in the theater. What surprised me were his connections to other movies I have liked: “Key Largo,” “Blackboard Jungle,” “Deadline-U.S.A.,” “The Professionals,” and “Lord Jim.” I was also intrigued with the movies I’d never heard of, such as “Crisis” and “The Last Hunt.”Writing a book means living with the subject of it for two or three years. Based on those movies and the little bit I’d read about Richard Brooks as a person, I thought he would make a compelling subject to explore and to tell about to others. And I was right, I think.From your point of view, what about Brooks and his work do you think attracts people all these years later?CFB: The strong material. He didn’t shy away from hard-hitting themes, yet he found a way to present them intelligently and cinematically. The fact that he was able to successfully translate material from another medium to film demonstrates his ability to underst! and the main themes and character traits of material and how t! o preser ve them yet tell a good story at the same time on film.How would you rank Brooks among Hollywood's great writers/directors?DD: To my mind, Richard Brooks is indeed in the top tier of the writer-directors. I think his best work rivals that of contemporaries like Billy Wilder, Joseph L. Mankiewicz and John Huston, filmmakers who were writers first and directors second. Brooks worked alone and thus was not as prolific as many directors and some writer-directors, yet he built a significant body of work while writing scripts and directing movies about subjects he cared about and ideas he wanted to share with audiences.He had some real misfires, to be sure. “Wrong Is Right” is off-key, and “Fever Pitch” is almost unwatchable. He is an imperfect artist. But aren’t they all? There are several movies by those named above that are just lousy. Some have a better “batting average” than others. I think that Brooks operated at a pretty high level.Tell me, how do you assess h! is body of work in relation to that of his peers?CFB: I agree with you. I’ve always admired writer-directors, because in my mind a good movie starts with strong material. The best writers-directors understand this and realized that their directing skills are to enhance the story, not take precedence over it. Brooks definitely falls into this category.What's one thing people will be surprised to know about Brooks?DD: I think people may be surprised at his passion for his work. I know I was.Not all filmmakers are that driven. I’ve never had the impression that John Huston was all that devoted to filmmaking; he enjoyed life in all its glory and, to me, saw filmmaking as a means to an end as well as a way to express himself. (And he made some great movies.) Brooks shared that sense of obsession that appears to have driven Kubrick, if to a lower degree.Brooks loved the movies, loved working, and believed film was just the right medium for expressing himself. And he had tried! other media â€" short stories and novels, for example, even a! few pla ys. He put writing and directing above everything else in his life. Work is what he enjoyed, what drove him to begin the day. And, in the end, when his creative life was over, because of age an infirmity, I think he may have found it hard to go on, perhaps even pointless.I’m curious to know your opinion â€" do you think biography is an effective way to look at a director’s work, or do you prefer the “films of” approach that bypasses narrative to focus on the movies rather than the moviemaker?CFB: Honestly, I like the mixture of both. It’s important to learn where a person came from, because that influences his or her work. The “backstory,” so to speak, is important to me. But then I want to know about the films themselves â€" why that material was selected, what challenges were being faced, etc. Often you can see what formed the filmmaker show up in his work and decisions, which enriches the in-depth narratives of the movies themselves.Which of Brooks' films do you like the most and why?DD: I think his three best movies â€" those that offer compelling narratives, good dialogue, strong performances, and an interesting visual style â€" are “In Cold Blood,” “Elmer Gantry” and “The Professionals.” To me, his efforts in all those areas â€" editing, too â€" really clicked. (And that’s also because he had fine collaborators.) These movies form a high point in his career, kind of the top of the bell curve.Three others that are strong entries in the Brooks filmography are “Blackboard Jungle,” “Cat on a Hot Tin Roof” and “Sweet Bird of Youth.”I don’t know if you’ve seen all of his movies, but I’d be interested to know what you think is a Br! ooks film that could have been great but fell short. Not woefu! lly shor t, but just didn’t seem to work as well as it should have.CFB: Honestly, it’s the movie that first brought you to my blog â€" “The Happy Ending.” I didn’t think it worked, but I saw numerous great moments, and I think he hit upon a general idea of this disillusioned housewife with some incredible insight at a time leading up to the women’s movement, plus he was trying to help his wife, Jean Simmons. But he couldn’t convey the problem or the symptoms properly. The movie stuck with me -- not for what it did but what it could have done (although Simmons was heartbreakingly terrific). DD: Here’s my “if only” movie: “Lord Jim.” It has so much going for it, not least of all Peter O’Toole and a grand cast as well as Freddie Young’s beautiful cinematography. It’s Brooks’s shot at delivering a David Lean film. But there is something that doesn’t quite connect, that makes this a wannabe epic and not a fully realized one. I enjoy watching it, but I alw! ays feel a little empty at the end.CFB: If you could meet Brooks, what would you ask him about first?DD: The biographer in me would want to ask him about his parents; I suspect their influence is something I can’t really appreciate without his help. I’d also ask about his wives; he was married at least four times, but I know nothing about Wife No. 1, and little about Wife No. 3.But, to the point of film rather than personal history, I think I’d ask Brooks whether, looking back, he wished he’d spent less time developing scripts and more time directing good scripts by other writers. He could have done at least a half-dozen more films than he did after “In Cold Blood” had he not insisted on writing everything himself. I’d say the same thing about Kubrick and the way he worked so methodically â€" don’t take 10 years to do a movie, Stanley, we want to see your genius more often.I know, I know -- that’s what makes their movies their movies. But, still … I’m ! a selfish movie-lover in this respect: I want more â€" like ga! ngster J ohnny Rocco says in “Key Largo”: “That's it! More. That's right, I want more!”And, like Johnny Rocco, I guess I’ll never get enough.=======================================I’d like to thank Douglass for initially stopping by my blog and then in joining me for this conversation. Brooks has been on my mind this week in regards to the passing of Elizabeth Taylor, who was superb in the equally superb “Cat on a Hot Tin Roof.” Feel free to check out “Tough as Nails” on Amazon. If any of you have a question for Douglass, feel free to leave it in the comments. I’m sure he’d be happy to respond!
Great classic films, best all time movies

Elizabeth Taylor

Hier, la légende Elizabeth Taylor d'écran a disparu à l'âge de 79. Maintenant, le déni : Je ne suis pas un expert en matière de n'importe quoi Elizabeth Taylor (excepté le film publicitaire de son « diamant blanc ») et je ne suis également pas un ventilateur à elle. Film publicitaire épique « de diamants blancs » d'Elizabeth Taylor. Je sais non seulement à ce que ce film publicitaire ressemble, grâce à ma maman, je connais l'odeur du parfum. Le puits a joué, Taylor. Puits joué. Je pense qu'il est difficile que l'un d'entre nous les ventilateurs de film classiques perde un quelconque de nos favoris. Mes condoléances aux ventilateurs d'Elizabeth Taylor (aussi bien que son famille et amis qui ne lisent pas ce poteau, mais eux y a dehors il quelque part). Elle a fait quelques films qui sont essentiels au cinéma et sont bien ouvrés, certains de mes favoris : Le velours national, chat sur un toit chaud de bidon et qui a peur de la Virginie Woolfe ? Elle Ã! ©tait également en Cléopâtre, qui était une bombe, mais en film énormement cher et marqueur dans l'histoire de film. Elle était célèbre pendant presque sa vie entière, agissant dans les films quand elle était 10. connus dès l'abord pour ses regards symétriques et attrayants, ses yeux et son talent qu'elle a passé sa vie entière dans un genre « de réalité fausse. » Je ne peux pas imaginer vivre que longtemps dans la lumière de tache, il n'y a aucune merveille qu'elle hurlait le « gladiateur ! Gladiateur ! » aux oscars aussi bien que caracoler/roulant autour du ranch de Neverland avec Michael Jackson.One de mes vidéos préférées de Michael Jackson. Je sais que vous m'aviez attendu pour commenter au sujet de sa vie sociale. Son mariage notoire et re-marrying… volant le mari de Debbie Reynold, Eddie Fischer… mais moi se sentent comme elle a été dit. Le plus, si je vais parler d'une dame qui l'a circulé pendant ses années à Hollywood… va ê! tre Ingrid. Je veux dire que ce blog ne s'appelle pas « Eliz! abeth Ta ylor la vie et des films, » maintenant, est-il lui ? Sérieusement, vous devriez observer Carrie Fischer « désireux buvant » une exposition de femme. Hilare.
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Strike it with your more better projectile: âPSYCHOPATHE â

Von dieser wöchentlichen Serie schlagen „be put Ihrem besseren Geschoß “, to wir schauen einen vorausbestimmten Film year und wählen, was to wir denken sind das amndt besten (oder wenigstens unser Günstling) shot.    Fest nach unten schauen Sie dies year sofort. Das beste Geschoß in Psycho unsterblichem von Alfred Hitchcock (1960), kommt discutablement DER berühmtesten einfachen Szene in der Geschichte von Jahr DER 100+ vom Kino. Es STI, dass verheerend die Umdrehung im Uhrzeigersinn verlangsamen (die das Blut, das unten wirbelt of Abzugskanals widerspiegelt,), DER put einem langsamen Summen kombiniert wurde, äußeres. Der Kran von Marion STI ungefähr gestorben. Der Tod in der Dusche erlaubt the Seine posthumen Endtränen. In was discutablement STI die glänzendste Entscheidung von Hitchcock in einem gefüllten Film von ihnen, sharp Umdrehungen von Zeitpunkt DER fabelhafte Rücken of the voyeurism of the Films (und ausdrückliche Vereinbarung of Kinos der Natur sehr) year der Unterstützung. Wir hatten fest den Kran von Marion, idiotischen angeschaut Vogel-als Marion, weil 49 Minuten, die ihr Drehen in ihrer „privaten Falle “beobachten. Wir könnten nicht (wollte nicht?) außer ihr. STI erhält be aufrecht, und ihre fest rückwärts anzuschauende Umdrehung. Von, wie viel Tod das Kino Bedürfnis hat? [to steal gelesener Mast und teilnehmende Bloge
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Was Unknowingly one the hiatus .....

Edge I right indicate how it annoys me, not to the blog above young stag ace often ace I employed with. With my access limited above young stag, I edge never not seem to find the hour to announce. Final Thus it is my attempt really above while announcing young stag. I want to announce regularly goal I will not begin any series gold ace off the such things, in date off still. Maintain so right your fingers and your toes crossed for me. : -) rest in peace, Elizabeth
Great classic films, best all time movies

Elizabeth Taylor

Hier, la légende Elizabeth Taylor d'écran a disparu à l'âge de 79. Maintenant, le déni : Je ne suis pas un expert en matière de n'importe quoi Elizabeth Taylor (excepté le film publicitaire de son « diamant blanc ») et je ne suis également pas un ventilateur à elle. Film publicitaire épique « de diamants blancs » d'Elizabeth Taylor. Je sais non seulement à ce que ce film publicitaire ressemble, grâce à ma maman, je connais l'odeur du parfum. Le puits a joué, Taylor. Le puits a joué. Je pense qu'il est difficile que l'un d'entre nous les ventilateurs de film classiques perde un quelconque de nos favoris. Mes condoléances aux ventilateurs d'Elizabeth Taylor (aussi bien que son famille et amis qui ne lisent pas ce poteau, mais eux y a dehors il quelque part). Elle a fait quelques films qui sont essentiels au cinéma et sont bien ouvrés, certains de mes favoris : Le velours national, chat sur un toit chaud de bidon et qui a peur de la Virginie Woolfe ? E! lle était également en Cléopâtre, qui était une bombe, mais en film énormement cher et marqueur dans l'histoire de film. Elle était célèbre pendant presque sa vie entière, agissant dans les films quand elle était 10. connus dès l'abord pour ses regards symétriques et attrayants, ses yeux et son talent qu'elle a passé sa vie entière dans un genre « de réalité fausse. » Je ne peux pas imaginer vivre que longtemps dans la lumière de tache, il n'y a aucune merveille qu'elle hurlait le « gladiateur ! Gladiateur ! » aux oscars aussi bien que caracoler/roulant autour du ranch de Neverland avec Michael Jackson.One de mes vidéos préférées de Michael Jackson. Je sais que vous m'aviez attendu pour commenter au sujet de sa vie sociale. Son mariage notoire et re-marrying… volant le mari de Debbie Reynold, Eddie Fischer… mais moi se sentent comme elle a été dit. Le plus, si je vais parler d'une dame qui l'a circulé pendant ses années à Hollywood… ! va être Ingrid. Je veux dire que ce blog ne s'appelle pas «Â!  Elizabe th Taylor la vie et des films, » maintenant, est-il lui ? Sérieusement, vous devriez observer Carrie Fischer « désireux buvant » une exposition de femme. Hilare.
Great classic films, best all time movies

With discussion Douglas with tons fir K off. Daniel author new Biografie off brooks off Richard

Earlier this month, I posted a review of the Richard Brooks’ film “The Happy Ending.” Much to my surprise and delight, I had a comment from Douglass K. Daniel, author of the new book “Tough as Nails: The Life and Films of Richard Brooks.”This is Douglass’ third book, following a comprehensive look at the TV series “Lou Grant” and a biography of Harry Reasoner.After a few e-mail exchanges, Douglass agreed to answer a few questions for me regarding Richard Brooks (above). Below is our conversation.CFB: What first interested you in Richard Brooks?DD: When I hit on the idea of a Richard Brooks biography, I revisited his filmography. I knew about “In Cold Blood,” of course, and “Elmer Gantry.â€!  And I remember seeing “Bite the Bullet” in the theater. What surprised me were his connections to other movies I have liked: “Key Largo,” “Blackboard Jungle,” “Deadline-U.S.A.,” “The Professionals,” and “Lord Jim.” I was also intrigued with the movies I’d never heard of, such as “Crisis” and “The Last Hunt.”Writing a book means living with the subject of it for two or three years. Based on those movies and the little bit I’d read about Richard Brooks as a person, I thought he would make a compelling subject to explore and to tell about to others. And I was right, I think.From your point of view, what about Brooks and his work do you think attracts people all these years later?CFB: The strong material. He didn’t shy away from hard-hitting themes, yet he found a way to present them intelligently and cinematically. The fact that he was able to successfully translate material from another medium to film demonstrates his ability to underst! and the main themes and character traits of material and how t! o preser ve them yet tell a good story at the same time on film.How would you rank Brooks among Hollywood's great writers/directors?DD: To my mind, Richard Brooks is indeed in the top tier of the writer-directors. I think his best work rivals that of contemporaries like Billy Wilder, Joseph L. Mankiewicz and John Huston, filmmakers who were writers first and directors second. Brooks worked alone and thus was not as prolific as many directors and some writer-directors, yet he built a significant body of work while writing scripts and directing movies about subjects he cared about and ideas he wanted to share with audiences.He had some real misfires, to be sure. “Wrong Is Right” is off-key, and “Fever Pitch” is almost unwatchable. He is an imperfect artist. But aren’t they all? There are several movies by those named above that are just lousy. Some have a better “batting average” than others. I think that Brooks operated at a pretty high level.Tell me, how do you assess h! is body of work in relation to that of his peers?CFB: I agree with you. I’ve always admired writer-directors, because in my mind a good movie starts with strong material. The best writers-directors understand this and realized that their directing skills are to enhance the story, not take precedence over it. Brooks definitely falls into this category.What's one thing people will be surprised to know about Brooks?DD: I think people may be surprised at his passion for his work. I know I was.Not all filmmakers are that driven. I’ve never had the impression that John Huston was all that devoted to filmmaking; he enjoyed life in all its glory and, to me, saw filmmaking as a means to an end as well as a way to express himself. (And he made some great movies.) Brooks shared that sense of obsession that appears to have driven Kubrick, if to a lower degree.Brooks loved the movies, loved working, and believed film was just the right medium for expressing himself. And he had tried! other media â€" short stories and novels, for example, even a! few pla ys. He put writing and directing above everything else in his life. Work is what he enjoyed, what drove him to begin the day. And, in the end, when his creative life was over, because of age an infirmity, I think he may have found it hard to go on, perhaps even pointless.I’m curious to know your opinion â€" do you think biography is an effective way to look at a director’s work, or do you prefer the “films of” approach that bypasses narrative to focus on the movies rather than the moviemaker?CFB: Honestly, I like the mixture of both. It’s important to learn where a person came from, because that influences his or her work. The “backstory,” so to speak, is important to me. But then I want to know about the films themselves â€" why that material was selected, what challenges were being faced, etc. Often you can see what formed the filmmaker show up in his work and decisions, which enriches the in-depth narratives of the movies themselves.Which of Brooks' films do you like the most and why?DD: I think his three best movies â€" those that offer compelling narratives, good dialogue, strong performances, and an interesting visual style â€" are “In Cold Blood,” “Elmer Gantry” and “The Professionals.” To me, his efforts in all those areas â€" editing, too â€" really clicked. (And that’s also because he had fine collaborators.) These movies form a high point in his career, kind of the top of the bell curve.Three others that are strong entries in the Brooks filmography are “Blackboard Jungle,” “Cat on a Hot Tin Roof” and “Sweet Bird of Youth.”I don’t know if you’ve seen all of his movies, but I’d be interested to know what you think is a Br! ooks film that could have been great but fell short. Not woefu! lly shor t, but just didn’t seem to work as well as it should have.CFB: Honestly, it’s the movie that first brought you to my blog â€" “The Happy Ending.” I didn’t think it worked, but I saw numerous great moments, and I think he hit upon a general idea of this disillusioned housewife with some incredible insight at a time leading up to the women’s movement, plus he was trying to help his wife, Jean Simmons. But he couldn’t convey the problem or the symptoms properly. The movie stuck with me -- not for what it did but what it could have done (although Simmons was heartbreakingly terrific). DD: Here’s my “if only” movie: “Lord Jim.” It has so much going for it, not least of all Peter O’Toole and a grand cast as well as Freddie Young’s beautiful cinematography. It’s Brooks’s shot at delivering a David Lean film. But there is something that doesn’t quite connect, that makes this a wannabe epic and not a fully realized one. I enjoy watching it, but I alw! ays feel a little empty at the end.CFB: If you could meet Brooks, what would you ask him about first?DD: The biographer in me would want to ask him about his parents; I suspect their influence is something I can’t really appreciate without his help. I’d also ask about his wives; he was married at least four times, but I know nothing about Wife No. 1, and little about Wife No. 3.But, to the point of film rather than personal history, I think I’d ask Brooks whether, looking back, he wished he’d spent less time developing scripts and more time directing good scripts by other writers. He could have done at least a half-dozen more films than he did after “In Cold Blood” had he not insisted on writing everything himself. I’d say the same thing about Kubrick and the way he worked so methodically â€" don’t take 10 years to do a movie, Stanley, we want to see your genius more often.I know, I know -- that’s what makes their movies their movies. But, still … I’m ! a selfish movie-lover in this respect: I want more â€" like ga! ngster J ohnny Rocco says in “Key Largo”: “That's it! More. That's right, I want more!”And, like Johnny Rocco, I guess I’ll never get enough.=======================================I’d like to thank Douglass for initially stopping by my blog and then in joining me for this conversation. Brooks has been on my mind this week in regards to the passing of Elizabeth Taylor, who was superb in the equally superb “Cat on a Hot Tin Roof.” Feel free to check out “Tough as Nails” on Amazon. If any of you have a question for Douglass, feel free to leave it in the comments. I’m sure he’d be happy to respond!
Great classic films, best all time movies

Elizabeth Taylor: In Memoriam

Movie legend Elizabeth Taylor has died at the age of 79. Arguably the biggest film icon, along with Marilyn Monroe, to come forth from the screen, Taylor was the much married, much publicized, much ridiculed and much loved star, known above all for her dark, sultry beauty.Literal volumes have been written about Elizabeth Taylor, as there was a lot in her long and varied life to record. Born in Hampstead, England on February 27, 1932, she came to the United States and began her career as a child star. Her soft voice, violet eyes and dark good looks, set her apart from others and with National Velvet, made in 1944, she made a name for herself and a wad of dough for her studio, MGM. ! Unlike other child actors, she made the transition to adult roles almost seamlessly, due to her mature beauty at an early age (the girl looked like a goddess at 16 in A Date with Judy).First married at 18 to hotel heir Nicky Hilton, she later married seven more times, twice to actor Richard Burton. Through them all, as well as her personal and public trials, tribulations and many health problems, the press followed her like a gossip hungry entourage. Heck, for an information hungry media, she was a veritable scandal buffet!Not only a pretty face and name in the news, Taylor was also an Academy award winning actress. Her first Oscar came to her in 1960 for Bu! tterfield 8 (some say as a consolation for nearly dyi! ng from pneumonia the previous year), her second for a much deserved performance with her then husband Burton in Who’s Afraid of Virginia Woolf in 1966. In 1999, La Liz was appointed Dame Commander of the Order of the British Empire. The title suited her.Besides the afore mentioned films, Taylor appeared in such classics as Little Women (1948), the original Father of the Bride (1950), Giant (1956), Cat on a Hot Tin Roof (1958) and the massive Cleopatra (1963) the mega-bomb in which she met and fell in lust/love with Burton and became the first actress to be paid $1 million for a single film. (The thing about Cleopatra is, despite its woeful reception by critics, it was the highest grossing picture of 1963, but due to its enormous production costs ~ it was set to cost $2 million, but ended up with a $44 million price tag ~ it lost millions). Love her or hate her, E! lizabeth Taylor was a true movie star.
Great classic films, best all time movies

Muñoz handbook one psychopathe, Nashville and of film ace inspiration

InterviewThe Film Experience doesn't often push books upon you, but it's time for an exception. Manuel Muñoz's debut novel "What You See in the Dark" hits bookstores, virtual and otherwise, this week. While it is a work of fiction, it borrows from reality for its backdrop. The pre-production and eventual release of Alfred Hitchcock's immortal Psycho (1960) figure into the narrative in crucial and evocative ways and both The Actress and The Director in question are characters.

Consider this amazing "double feature"

Full Disclosure (as I always believe in such things): I met Manuel Muñoz at a poetry event about four years  ago and he introduced himself as a reader of The Film Experience. Though predisposed to rooting for him as a result (I'm only human!) we hadn't really kept in good touch. In the intervening years, I bought a copy of his second short story collection. Two months ago his first novel arrived in galley form and I ate it right up.  I think it's quite an amazing read.

Nathaniel: Before your beautiful novel, which we'll get to in a moment, you had two short story collections published. The first piece of yours I ever read was "Skyshot" which had an amazing Robert Altman thread. That really won me over. How did that story come about and has the cinema always inspired you creatively as a writer?

Manuel Muñoz: I was lucky enough to see Nashville on the big screen at the Brattle in Cambridge when I was in college. I was stunned by it, and it remains my favorite film (with The Piano a close second.) Altman's command of multiple character arcs enthralled me--it was the closest I'd seen a film parallel the possibilities of words on the page. He could shift magnificently and I loved that he could suggest interiority with camera movement: I was stunned when I realized the camera had crept up on Lily Tomlin as she listened to "I'm Easy." (He did the same to Ronee when she sings "Dues.")At the time, I was coming to terms with identity and subject matter, so it confused me to be so attracted to a film like Nashville, which is far outside my experience.

Manuel Muñoz by © Stuart Bernstein

But I eventually thought of how often we use films to narrate our own lives. I've never sat at the back of a bar while in love with a performer on stage, but I've worn that look that Lily has on her face. Know what I mean?

Nathaniel: I think so.  But to the point on identity. I've always believed that specificity -- be it in sharply drawn characterizations or carefully observed milieus -- has a way of inverting itself so it's suddenly universal. I see that in your writing too as you're often dealing with the Chicano experience, which I have little connection to and yet it's totally alive for me.

I'm guessing this has a lot to do with an assured storytelling voice, one that's relaxed about the audience feeling whatever it is they're going to feel without forcing it upon them.

Manuel:  I like how you phrase that. It's true: the audience is going to feel whatever it chooses to feel, and there's little use in being heavy-handed about pushing a particular direction. When I finally figured that out in my own writing, it meant accepting that I had grown into a particular style, a particular way of telling. I'm very driven and excited by writing that honors interiority, that really tries its best to get into the unreachable mind of a character. I love details, turns of phrases --everything that makes me slow down as a reader. And I'm drawn to high emotional pitches, too--melodrama, some might call it. I'm a bit of a swooner that way.

Nathaniel: Melodrama is totally undervalued. So bring on the high emotional pitches.

How did you decide on that second person voice at the drive-in for the prologue? It's kind of an unusual opening gambit.

 

Manuel: Second person, to some readers, can seem too much like a set of instructions or a guided way of seeing a scene. It's too imperative. But, in the case of this novel, I thought it was the best way to mimic the voyeurism behind all films. That first chapter opens with a little bit of spying, so it fit perfectly. It was a good way to hide who was doing the spying (and why). The novel shifts to third person after that, but I'm glad I have something of an "opening shot".I also liked that it brought me close to the sense of the "little voice" we all carry around inside our heads: I always like to ask friends if, when they talk to themselves, whether they use "I" or "you." Either answer makes you sound a little nuts. In Psycho, Marion Crane never really talks to herself, but part of the narrative clearly takes place as if she is, indeed, thinking something over.

Nathaniel: So true. For the record I use "you" and am a little nuts -- I don't just sound it. So there's that famous Psycho phrase sneaking it's way in...

We all go a little mad sometimes.

Manuel: Absolutely. I use "you" too, by the way. Strange.Every time I watched Psycho while writing this novel, I was transfixed by Janet Leigh in that scene. The narrative weight is all behind Perkins and the script isn't calling for her to do much but listen. Yet, I can't take my eyes away from her. That face! Even the way she eats her sandwich has a calculation to it, a nervous nibbling. It's a seamless, meaningful gesture, too.

See what I mean by details? I just saw It's Complicated with some friends and, while I didn't care for the film, I could've watched Meryl Streep take off and put on her reading glasses all night.

Nathaniel: Meryl Streep, Queen of "business".

Since you brought up Leigh, and as you probably surmised given that I am me, my favorite character in the book is The Actress (followed closely by "Arlene"). I loved the interiority, to mimic your words, that you granted her. It really does play in well with watching Leigh's performative self-consciousness in Psycho. Marion Crane is continually judging and monitoring her own actions / emotions. And here, in your novel, we have The Actress doing the same with her self in a way. But I wonder if this would have worked with an actress who the audience had a clearer (presumed) knowledge of, in terms of her offscreen personality? Did you spend any time considering / worrying about how much the audience would or wouldn't know about Psycho, Leigh and Hitchcock?

Manuel: Do you recall Cate Blanchett's Oscar acceptance speech, when she described Katharine Hepburn as "terrifingly well-known"? There was a bit of that apprehension when I first considered writing an Actress chapter. Leigh never had the aura of a Monroe or Taylor, but she has been blessed with being forever identified with a singular and magnficent performance. Everything about her is filtered through her presence there. In depicting her approach (and remember, this is fiction), I really tipped my hat toward fans of her (rather than the film). I think those who really appreciate her performance would probably agree with me that the character is rather flat on the page, and it took an actress with her facial and vocal resources to really make her the center of that story.I worry less about readers who know the film inside and out than I do about people who don't: I took pains to make it clear that the film was not actually shot in Bakersfield but on set ! in LA, and that the presence of the Director and Actress in Bakersfield is about scouting for locales. I hope the homage to Leigh is what garners the most attention.

Tony Curtis and Janet Leigh at the Oscars for her "Psycho" nomination

Nathaniel: It will surely make people reconsider the performance yet again. The chapter on the shower scene is pretty spectacular, although I don't want The Film Experience readers to get the impression that you're *just* writing about Psycho. Psycho is more like a transluscent overlay, metaphoric guide, visible underwire? I'm not sure what you'd want to call it.

It's very much about the people of Bakersfield and in a broader sense the dark edges of our limited field of vision. What's waiting for us out in the dark? I'm making it sound like a horror novel. Which it isn't. Sorry!

Manuel: Well, do you consider Psycho only a horror film?

Anytime we try to fence in a piece of art, it's bound to break those confines if it can offer more than just the sum of its parts. (I hope I did!) Look at Sissy Spacek in Carrie. The much-maligned Stephen King has some of my favorite lines ever. In Carrie, a brief, devastating description of desk graffiti, with the callous line, "Carrie White eats shit." Or this saucy number from, of all books, "It" "He had a nice, polite college boy's cock. Long enough to jazz with, but not thick enough to be really arrogant." I mean, my God--"jazz"? Genius!

As you can see, I received my booklet on How to Respond Like a Serious Writer...

I am all for finding inspiration in the unlikeliest of places, of story arcs, of details. That's why I try to remain open to all sorts of movies and books --I never know what it might prompt me to think about. Every artistic gesture, successful or not, has a way to inspire us.

Nathaniel: I absolutely feel you here. Sometimes, for example, when I'm talking to people offline they seem confused when I say I'm glad I saw or read something that I didn't like . But for me what art prompts in us, can be just as interesting (or moreso) than the work itself.So right away I was predisposed to enjoy your novel because I enjoy the hand-me-down and pass-it-on nature of art and artistic inspiration so much. But I have to admit I was nervous reading your novel (for the first couple of chapters) because I was like, can he pull this off?

Manuel:  I hope I did! The novel went through five drafts. At its longest, it was 300 pages, and Hitchcock had a lot more space. But I became less and less interested in him, and the reality of the scope of my project made itself more clear as I went on. It was a chance, ultimately, to give prominent space to women as the central engines of narrative, to do something that most films and books still don't do as often as they could. Yes, we've talked about Leigh a lot here, but there is definitely much at stake with the young singer Teresa and the lonely waitress Arlene. In the latter, much of her character came from asking myself who might have occupied that chair when Lila taps the figure in the cellar, what she could have said, if she had been something other a macabre joke.

Nathaniel: Well, you have a gift for this haunting character investigation. Thank yourself in that next second person singular conversation.

 

I was also wowed by Teresa co-worker. She's barely in it but it's like seeing one of those perfectly constructed character bits. 'I'm Beatrice Straight and I just won the Oscar in five minutes. BAM!'

Now I'm rambling and gushing but these characters really breathe. Sometimes when people leap from familiar precipices -- like say, half a century old film classics -- they don't catch their own air.  But you're flying. 

Manuel: Thanks, Nathaniel. It means a lot to me that a film lover would like the book.

Nathaniel: You're very welcome. I hope you have a best-seller on your hands. Then you'll have a whole mess of new problems to deal with like "Who should I sell the movie rights, too?" because damn, this would be a tall order for a film adaptation.

Manuel: One can only hope. I'm no spring chicken, so maybe it'll help me land a husband. Frances McDormand can serve a mean cup of coffee, I bet...

Nathaniel: You're already casting? That way lies the madhouse.

Still, may all of your first choices say yes: McDormand, husbands, and on down the call sheet.

"What You See in the Dark" is currently available for purchase. I have three copies of the book for giveaway but I really suggest buying a copy. If you win, you can always gift your extra copy. Support great writers and creative cinephiles!

Great classic films, best all time movies

Was Unknowingly one the hiatus .....

Edge I right indicate how it annoys me, not to the blog above young stag ace often ace I employed with. With my access limited above young stag, I edge never not seem to find the hour to announce. Final Thus it is my attempt really above while announcing young stag. I want to announce regularly goal I will not begin any series gold ace off the such things, in date off still. Maintain so right your fingers and your toes crossed for me. : -) rest in peace, Elizabeth
Great classic films, best all time movies

Elizabeth Taylor: In Memoriam

Movie legend Elizabeth Taylor has died at the age of 79. Arguably the biggest film icon, along with Marilyn Monroe, to come forth from the screen, Taylor was the much married, much publicized, much ridiculed and much loved star, known above all for her dark, sultry beauty.Literal volumes have been written about Elizabeth Taylor, as there was a lot in her long and varied life to record. Born in Hampstead, England on February 27, 1932, she came to the United States and began her career as a child star. Her soft voice, violet eyes and dark good looks, set her apart from others and with National Velvet, made in 1944, she made a name for herself and a wad of dough for her studio, MGM. ! Unlike other child actors, she made the transition to adult roles almost seamlessly, due to her mature beauty at an early age (the girl looked like a goddess at 16 in A Date with Judy).First married at 18 to hotel heir Nicky Hilton, she later married seven more times, twice to actor Richard Burton. Through them all, as well as her personal and public trials, tribulations and many health problems, the press followed her like a gossip hungry entourage. Heck, for an information hungry media, she was a veritable scandal buffet!Not only a pretty face and name in the news, Taylor was also an Academy award winning actress. Her first Oscar came to her in 1960 for Bu! tterfield 8 (some say as a consolation for nearly dyi! ng from pneumonia the previous year), her second for a much deserved performance with her then husband Burton in Who’s Afraid of Virginia Woolf in 1966. In 1999, La Liz was appointed Dame Commander of the Order of the British Empire. The title suited her.Besides the afore mentioned films, Taylor appeared in such classics as Little Women (1948), the original Father of the Bride (1950), Giant (1956), Cat on a Hot Tin Roof (1958) and the massive Cleopatra (1963) the mega-bomb in which she met and fell in lust/love with Burton and became the first actress to be paid $1 million for a single film. (The thing about Cleopatra is, despite its woeful reception by critics, it was the highest grossing picture of 1963, but due to its enormous production costs ~ it was set to cost $2 million, but ended up with a $44 million price tag ~ it lost millions). Love her or hate her, E! lizabeth Taylor was a true movie star.
Great classic films, best all time movies

Elizabeth Taylor

Hier, la légende Elizabeth Taylor d'écran a disparu à l'âge de 79. Maintenant, le déni : Je ne suis pas un expert en matière de n'importe quoi Elizabeth Taylor (excepté le film publicitaire de son « diamant blanc ») et je ne suis également pas un ventilateur à elle. Film publicitaire épique « de diamants blancs » d'Elizabeth Taylor. Je sais non seulement à ce que ce film publicitaire ressemble, grâce à ma maman, je connais l'odeur du parfum. Le puits a joué, Taylor. Puits joué. Je pense qu'il est difficile que l'un d'entre nous les ventilateurs de film classiques perde un quelconque de nos favoris. Mes condoléances aux ventilateurs d'Elizabeth Taylor (aussi bien que son famille et amis qui ne lisent pas ce poteau, mais eux y a dehors il quelque part). Elle a fait quelques films qui sont essentiels au cinéma et sont bien ouvrés, certains de mes favoris : Le velours national, chat sur un toit chaud de bidon et qui a peur de la Virginie Woolfe ? Elle Ã! ©tait également en Cléopâtre, qui était une bombe, mais en film énormement cher et marqueur dans l'histoire de film. Elle était célèbre pendant presque sa vie entière, agissant dans les films quand elle était 10. connus dès l'abord pour ses regards symétriques et attrayants, ses yeux et son talent qu'elle a passé sa vie entière dans un genre « de réalité fausse. » Je ne peux pas imaginer vivre que longtemps dans la lumière de tache, il n'y a aucune merveille qu'elle hurlait le « gladiateur ! Gladiateur ! » aux oscars aussi bien que caracoler/roulant autour du ranch de Neverland avec Michael Jackson.One de mes vidéos préférées de Michael Jackson. Je sais que vous m'aviez attendu pour commenter au sujet de sa vie sociale. Son mariage notoire et re-marrying… volant le mari de Debbie Reynold, Eddie Fischer… mais moi se sentent comme elle a été dit. Le plus, si je vais parler d'une dame qui l'a circulé pendant ses années à Hollywood… va ê! tre Ingrid. Je veux dire que ce blog ne s'appelle pas « Eliz! abeth Ta ylor la vie et des films, » maintenant, est-il lui ? Sérieusement, vous devriez observer Carrie Fischer « désireux buvant » une exposition de femme. Hilare.
Great classic films, best all time movies

Elizabeth Taylor: In Memoriam

Movie legend Elizabeth Taylor has died at the age of 79. Arguably the biggest film icon, along with Marilyn Monroe, to come forth from the screen, Taylor was the much married, much publicized, much ridiculed and much loved star, known above all for her dark, sultry beauty.Literal volumes have been written about Elizabeth Taylor, as there was a lot in her long and varied life to record. Born in Hampstead, England on February 27, 1932, she came to the United States and began her career as a child star. Her soft voice, violet eyes and dark good looks, set her apart from others and with National Velvet, made in 1944, she made a name for herself and a wad of dough for her studio, MGM. ! Unlike other child actors, she made the transition to adult roles almost seamlessly, due to her mature beauty at an early age (the girl looked like a goddess at 16 in A Date with Judy).First married at 18 to hotel heir Nicky Hilton, she later married seven more times, twice to actor Richard Burton. Through them all, as well as her personal and public trials, tribulations and many health problems, the press followed her like a gossip hungry entourage. Heck, for an information hungry media, she was a veritable scandal buffet!Not only a pretty face and name in the news, Taylor was also an Academy award winning actress. Her first Oscar came to her in 1960 for Bu! tterfield 8 (some say as a consolation for nearly dyi! ng from pneumonia the previous year), her second for a much deserved performance with her then husband Burton in Who’s Afraid of Virginia Woolf in 1966. In 1999, La Liz was appointed Dame Commander of the Order of the British Empire. The title suited her.Besides the afore mentioned films, Taylor appeared in such classics as Little Women (1948), the original Father of the Bride (1950), Giant (1956), Cat on a Hot Tin Roof (1958) and the massive Cleopatra (1963) the mega-bomb in which she met and fell in lust/love with Burton and became the first actress to be paid $1 million for a single film. (The thing about Cleopatra is, despite its woeful reception by critics, it was the highest grossing picture of 1963, but due to its enormous production costs ~ it was set to cost $2 million, but ended up with a $44 million price tag ~ it lost millions). Love her or hate her, E! lizabeth Taylor was a true movie star.
Great classic films, best all time movies

Was Unknowingly one the hiatus .....

Edge I right indicate how it annoys me, not to the blog above young stag ace often ace I employed with. With my access limited above young stag, I edge never not seem to find the hour to announce. Final Thus it is my attempt really above while announcing young stag. I want to announce regularly goal I will not begin any series gold ace off the such things, in date off still. Maintain so right your fingers and your toes crossed for me. : -) rest in peace, Elizabeth
Great classic films, best all time movies

With discussion Douglas with tons fir K off. Daniel author new Biografie off brooks off Richard

Earlier this month, I posted a review of the Richard Brooks’ film “The Happy Ending.” Much to my surprise and delight, I had a comment from Douglass K. Daniel, author of the new book “Tough as Nails: The Life and Films of Richard Brooks.”This is Douglass’ third book, following a comprehensive look at the TV series “Lou Grant” and a biography of Harry Reasoner.After a few e-mail exchanges, Douglass agreed to answer a few questions for me regarding Richard Brooks (above). Below is our conversation.CFB: What first interested you in Richard Brooks?DD: When I hit on the idea of a Richard Brooks biography, I revisited his filmography. I knew about “In Cold Blood,” of course, and “Elmer Gantry.â€!  And I remember seeing “Bite the Bullet” in the theater. What surprised me were his connections to other movies I have liked: “Key Largo,” “Blackboard Jungle,” “Deadline-U.S.A.,” “The Professionals,” and “Lord Jim.” I was also intrigued with the movies I’d never heard of, such as “Crisis” and “The Last Hunt.”Writing a book means living with the subject of it for two or three years. Based on those movies and the little bit I’d read about Richard Brooks as a person, I thought he would make a compelling subject to explore and to tell about to others. And I was right, I think.From your point of view, what about Brooks and his work do you think attracts people all these years later?CFB: The strong material. He didn’t shy away from hard-hitting themes, yet he found a way to present them intelligently and cinematically. The fact that he was able to successfully translate material from another medium to film demonstrates his ability to underst! and the main themes and character traits of material and how t! o preser ve them yet tell a good story at the same time on film.How would you rank Brooks among Hollywood's great writers/directors?DD: To my mind, Richard Brooks is indeed in the top tier of the writer-directors. I think his best work rivals that of contemporaries like Billy Wilder, Joseph L. Mankiewicz and John Huston, filmmakers who were writers first and directors second. Brooks worked alone and thus was not as prolific as many directors and some writer-directors, yet he built a significant body of work while writing scripts and directing movies about subjects he cared about and ideas he wanted to share with audiences.He had some real misfires, to be sure. “Wrong Is Right” is off-key, and “Fever Pitch” is almost unwatchable. He is an imperfect artist. But aren’t they all? There are several movies by those named above that are just lousy. Some have a better “batting average” than others. I think that Brooks operated at a pretty high level.Tell me, how do you assess h! is body of work in relation to that of his peers?CFB: I agree with you. I’ve always admired writer-directors, because in my mind a good movie starts with strong material. The best writers-directors understand this and realized that their directing skills are to enhance the story, not take precedence over it. Brooks definitely falls into this category.What's one thing people will be surprised to know about Brooks?DD: I think people may be surprised at his passion for his work. I know I was.Not all filmmakers are that driven. I’ve never had the impression that John Huston was all that devoted to filmmaking; he enjoyed life in all its glory and, to me, saw filmmaking as a means to an end as well as a way to express himself. (And he made some great movies.) Brooks shared that sense of obsession that appears to have driven Kubrick, if to a lower degree.Brooks loved the movies, loved working, and believed film was just the right medium for expressing himself. And he had tried! other media â€" short stories and novels, for example, even a! few pla ys. He put writing and directing above everything else in his life. Work is what he enjoyed, what drove him to begin the day. And, in the end, when his creative life was over, because of age an infirmity, I think he may have found it hard to go on, perhaps even pointless.I’m curious to know your opinion â€" do you think biography is an effective way to look at a director’s work, or do you prefer the “films of” approach that bypasses narrative to focus on the movies rather than the moviemaker?CFB: Honestly, I like the mixture of both. It’s important to learn where a person came from, because that influences his or her work. The “backstory,” so to speak, is important to me. But then I want to know about the films themselves â€" why that material was selected, what challenges were being faced, etc. Often you can see what formed the filmmaker show up in his work and decisions, which enriches the in-depth narratives of the movies themselves.Which of Brooks' films do you like the most and why?DD: I think his three best movies â€" those that offer compelling narratives, good dialogue, strong performances, and an interesting visual style â€" are “In Cold Blood,” “Elmer Gantry” and “The Professionals.” To me, his efforts in all those areas â€" editing, too â€" really clicked. (And that’s also because he had fine collaborators.) These movies form a high point in his career, kind of the top of the bell curve.Three others that are strong entries in the Brooks filmography are “Blackboard Jungle,” “Cat on a Hot Tin Roof” and “Sweet Bird of Youth.”I don’t know if you’ve seen all of his movies, but I’d be interested to know what you think is a Br! ooks film that could have been great but fell short. Not woefu! lly shor t, but just didn’t seem to work as well as it should have.CFB: Honestly, it’s the movie that first brought you to my blog â€" “The Happy Ending.” I didn’t think it worked, but I saw numerous great moments, and I think he hit upon a general idea of this disillusioned housewife with some incredible insight at a time leading up to the women’s movement, plus he was trying to help his wife, Jean Simmons. But he couldn’t convey the problem or the symptoms properly. The movie stuck with me -- not for what it did but what it could have done (although Simmons was heartbreakingly terrific). DD: Here’s my “if only” movie: “Lord Jim.” It has so much going for it, not least of all Peter O’Toole and a grand cast as well as Freddie Young’s beautiful cinematography. It’s Brooks’s shot at delivering a David Lean film. But there is something that doesn’t quite connect, that makes this a wannabe epic and not a fully realized one. I enjoy watching it, but I alw! ays feel a little empty at the end.CFB: If you could meet Brooks, what would you ask him about first?DD: The biographer in me would want to ask him about his parents; I suspect their influence is something I can’t really appreciate without his help. I’d also ask about his wives; he was married at least four times, but I know nothing about Wife No. 1, and little about Wife No. 3.But, to the point of film rather than personal history, I think I’d ask Brooks whether, looking back, he wished he’d spent less time developing scripts and more time directing good scripts by other writers. He could have done at least a half-dozen more films than he did after “In Cold Blood” had he not insisted on writing everything himself. I’d say the same thing about Kubrick and the way he worked so methodically â€" don’t take 10 years to do a movie, Stanley, we want to see your genius more often.I know, I know -- that’s what makes their movies their movies. But, still … I’m ! a selfish movie-lover in this respect: I want more â€" like ga! ngster J ohnny Rocco says in “Key Largo”: “That's it! More. That's right, I want more!”And, like Johnny Rocco, I guess I’ll never get enough.=======================================I’d like to thank Douglass for initially stopping by my blog and then in joining me for this conversation. Brooks has been on my mind this week in regards to the passing of Elizabeth Taylor, who was superb in the equally superb “Cat on a Hot Tin Roof.” Feel free to check out “Tough as Nails” on Amazon. If any of you have a question for Douglass, feel free to leave it in the comments. I’m sure he’d be happy to respond!
Great classic films, best all time movies

Connection, ace know it custom

i09 offre un regard à l'homme de rouage d'horloge dans l'invention de Scorsese des merveilles de Hugo CabretGold Derby si des pasteurs d'Estelle de gagnant d'oscar (& mignon ; Clyde) a un Prix Tony dans la sa très proche le futur. Dans la controverse le type partage ses plans de revue pour l'arbre de la vie à la lumière de ses plans de première. Et la nouvelle affiche. Pourquoi oui, le lecteur, ici il est. Appréciez. L'académie de Derby d'or pour honorer Sophia Loren dans MayPlaybill Kristin Chenoweth revient à Broadway. Les détails sont inconnus mais le bonheur suivra sûrement. Les soit-disant films de la sirène 10 que la sirène devrait aimer mais ne fait pas. Quelle idée d'amusement pour une liste. Ce n'est pas des classiques que vous n'aimez pas que chacun fait autrement… il est des films vous devriez aimer, donné à ce que vous répondez typiquement, mais ne fait pas juste. Enfin… voici l'oignon méchant mais la tragédie drôle forte de Katharine Heigl de rire dehors « dans l'accident anormal, 34 films de Katherine Keigl libérés immédiatement. » Grâce à Glenn de le signaler. Dans l'accident anormal, 34 films de Katherine Heigl ont libéré immédiatement Tellement si drôle cependant que & de Venus ; L'affiche/concept de Mars lit 100% comme un vrai film. Pendant une seconde I pensé lui était. Mon peu préféré était l'élévation de 60% du l'individu-blindings et de l'EMT soumis à une contrainte. Dans la vérité je suis l'une de ces âmes rares qui genre de goûts Katharine Heigl. MAIS voici comment j'ai échappé à la haine : Je n'ai pas vu tous ces films misérables qu'elle se tient le premier rôle dedans et j'ai seulement observé comme une saison de l'anatomie du gris parce que c'était un désordre gluant shlocky. S'il y a une étoile besoin de ne dire « non » à moins que ce soit un projet de prestige avec le directeur de liste d'A la fois prochaine, il est elle. Elle a assez d'argent en ce moment. Un hiatus jusqu'à ce qu'une offre de qualité se montre est la seule réponse pour tourner ce dédain autour.   ;
Great classic films, best all time movies

With discussion Douglas with tons fir K off. Daniel author new Biografie off brooks off Richard

Earlier this month, I posted a review of the Richard Brooks’ film “The Happy Ending.” Much to my surprise and delight, I had a comment from Douglass K. Daniel, author of the new book “Tough as Nails: The Life and Films of Richard Brooks.”This is Douglass’ third book, following a comprehensive look at the TV series “Lou Grant” and a biography of Harry Reasoner.After a few e-mail exchanges, Douglass agreed to answer a few questions for me regarding Richard Brooks (above). Below is our conversation.CFB: What first interested you in Richard Brooks?DD: When I hit on the idea of a Richard Brooks biography, I revisited his filmography. I knew about “In Cold Blood,” of course, and “Elmer Gantry.â€!  And I remember seeing “Bite the Bullet” in the theater. What surprised me were his connections to other movies I have liked: “Key Largo,” “Blackboard Jungle,” “Deadline-U.S.A.,” “The Professionals,” and “Lord Jim.” I was also intrigued with the movies I’d never heard of, such as “Crisis” and “The Last Hunt.”Writing a book means living with the subject of it for two or three years. Based on those movies and the little bit I’d read about Richard Brooks as a person, I thought he would make a compelling subject to explore and to tell about to others. And I was right, I think.From your point of view, what about Brooks and his work do you think attracts people all these years later?CFB: The strong material. He didn’t shy away from hard-hitting themes, yet he found a way to present them intelligently and cinematically. The fact that he was able to successfully translate material from another medium to film demonstrates his ability to underst! and the main themes and character traits of material and how t! o preser ve them yet tell a good story at the same time on film.How would you rank Brooks among Hollywood's great writers/directors?DD: To my mind, Richard Brooks is indeed in the top tier of the writer-directors. I think his best work rivals that of contemporaries like Billy Wilder, Joseph L. Mankiewicz and John Huston, filmmakers who were writers first and directors second. Brooks worked alone and thus was not as prolific as many directors and some writer-directors, yet he built a significant body of work while writing scripts and directing movies about subjects he cared about and ideas he wanted to share with audiences.He had some real misfires, to be sure. “Wrong Is Right” is off-key, and “Fever Pitch” is almost unwatchable. He is an imperfect artist. But aren’t they all? There are several movies by those named above that are just lousy. Some have a better “batting average” than others. I think that Brooks operated at a pretty high level.Tell me, how do you assess h! is body of work in relation to that of his peers?CFB: I agree with you. I’ve always admired writer-directors, because in my mind a good movie starts with strong material. The best writers-directors understand this and realized that their directing skills are to enhance the story, not take precedence over it. Brooks definitely falls into this category.What's one thing people will be surprised to know about Brooks?DD: I think people may be surprised at his passion for his work. I know I was.Not all filmmakers are that driven. I’ve never had the impression that John Huston was all that devoted to filmmaking; he enjoyed life in all its glory and, to me, saw filmmaking as a means to an end as well as a way to express himself. (And he made some great movies.) Brooks shared that sense of obsession that appears to have driven Kubrick, if to a lower degree.Brooks loved the movies, loved working, and believed film was just the right medium for expressing himself. And he had tried! other media â€" short stories and novels, for example, even a! few pla ys. He put writing and directing above everything else in his life. Work is what he enjoyed, what drove him to begin the day. And, in the end, when his creative life was over, because of age an infirmity, I think he may have found it hard to go on, perhaps even pointless.I’m curious to know your opinion â€" do you think biography is an effective way to look at a director’s work, or do you prefer the “films of” approach that bypasses narrative to focus on the movies rather than the moviemaker?CFB: Honestly, I like the mixture of both. It’s important to learn where a person came from, because that influences his or her work. The “backstory,” so to speak, is important to me. But then I want to know about the films themselves â€" why that material was selected, what challenges were being faced, etc. Often you can see what formed the filmmaker show up in his work and decisions, which enriches the in-depth narratives of the movies themselves.Which of Brooks' films do you like the most and why?DD: I think his three best movies â€" those that offer compelling narratives, good dialogue, strong performances, and an interesting visual style â€" are “In Cold Blood,” “Elmer Gantry” and “The Professionals.” To me, his efforts in all those areas â€" editing, too â€" really clicked. (And that’s also because he had fine collaborators.) These movies form a high point in his career, kind of the top of the bell curve.Three others that are strong entries in the Brooks filmography are “Blackboard Jungle,” “Cat on a Hot Tin Roof” and “Sweet Bird of Youth.”I don’t know if you’ve seen all of his movies, but I’d be interested to know what you think is a Br! ooks film that could have been great but fell short. Not woefu! lly shor t, but just didn’t seem to work as well as it should have.CFB: Honestly, it’s the movie that first brought you to my blog â€" “The Happy Ending.” I didn’t think it worked, but I saw numerous great moments, and I think he hit upon a general idea of this disillusioned housewife with some incredible insight at a time leading up to the women’s movement, plus he was trying to help his wife, Jean Simmons. But he couldn’t convey the problem or the symptoms properly. The movie stuck with me -- not for what it did but what it could have done (although Simmons was heartbreakingly terrific). DD: Here’s my “if only” movie: “Lord Jim.” It has so much going for it, not least of all Peter O’Toole and a grand cast as well as Freddie Young’s beautiful cinematography. It’s Brooks’s shot at delivering a David Lean film. But there is something that doesn’t quite connect, that makes this a wannabe epic and not a fully realized one. I enjoy watching it, but I alw! ays feel a little empty at the end.CFB: If you could meet Brooks, what would you ask him about first?DD: The biographer in me would want to ask him about his parents; I suspect their influence is something I can’t really appreciate without his help. I’d also ask about his wives; he was married at least four times, but I know nothing about Wife No. 1, and little about Wife No. 3.But, to the point of film rather than personal history, I think I’d ask Brooks whether, looking back, he wished he’d spent less time developing scripts and more time directing good scripts by other writers. He could have done at least a half-dozen more films than he did after “In Cold Blood” had he not insisted on writing everything himself. I’d say the same thing about Kubrick and the way he worked so methodically â€" don’t take 10 years to do a movie, Stanley, we want to see your genius more often.I know, I know -- that’s what makes their movies their movies. But, still … I’m ! a selfish movie-lover in this respect: I want more â€" like ga! ngster J ohnny Rocco says in “Key Largo”: “That's it! More. That's right, I want more!”And, like Johnny Rocco, I guess I’ll never get enough.=======================================I’d like to thank Douglass for initially stopping by my blog and then in joining me for this conversation. Brooks has been on my mind this week in regards to the passing of Elizabeth Taylor, who was superb in the equally superb “Cat on a Hot Tin Roof.” Feel free to check out “Tough as Nails” on Amazon. If any of you have a question for Douglass, feel free to leave it in the comments. I’m sure he’d be happy to respond!
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Elizabeth Taylor: In Memoriam

Movie legend Elizabeth Taylor has died at the age of 79. Arguably the biggest film icon, along with Marilyn Monroe, to come forth from the screen, Taylor was the much married, much publicized, much ridiculed and much loved star, known above all for her dark, sultry beauty.Literal volumes have been written about Elizabeth Taylor, as there was a lot in her long and varied life to record. Born in Hampstead, England on February 27, 1932, she came to the United States and began her career as a child star. Her soft voice, violet eyes and dark good looks, set her apart from others and with National Velvet, made in 1944, she made a name for herself and a wad of dough for her studio, MGM. ! Unlike other child actors, she made the transition to adult roles almost seamlessly, due to her mature beauty at an early age (the girl looked like a goddess at 16 in A Date with Judy).First married at 18 to hotel heir Nicky Hilton, she later married seven more times, twice to actor Richard Burton. Through them all, as well as her personal and public trials, tribulations and many health problems, the press followed her like a gossip hungry entourage. Heck, for an information hungry media, she was a veritable scandal buffet!Not only a pretty face and name in the news, Taylor was also an Academy award winning actress. Her first Oscar came to her in 1960 for Bu! tterfield 8 (some say as a consolation for nearly dyi! ng from pneumonia the previous year), her second for a much deserved performance with her then husband Burton in Who’s Afraid of Virginia Woolf in 1966. In 1999, La Liz was appointed Dame Commander of the Order of the British Empire. The title suited her.Besides the afore mentioned films, Taylor appeared in such classics as Little Women (1948), the original Father of the Bride (1950), Giant (1956), Cat on a Hot Tin Roof (1958) and the massive Cleopatra (1963) the mega-bomb in which she met and fell in lust/love with Burton and became the first actress to be paid $1 million for a single film. (The thing about Cleopatra is, despite its woeful reception by critics, it was the highest grossing picture of 1963, but due to its enormous production costs ~ it was set to cost $2 million, but ended up with a $44 million price tag ~ it lost millions). Love her or hate her, E! lizabeth Taylor was a true movie star.
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Was Unknowingly one the hiatus .....

Edge I right indicate how it annoys me, not to the blog above young stag ace often ace I employed with. With my access limited above young stag, I edge never not seem to find the hour to announce. Final Thus it is my attempt really above while announcing young stag. I want to announce regularly goal I will not begin any series gold ace off the such things, in date off still. Maintain so right your fingers and your toes crossed for me. : -) rest in peace, Elizabeth
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Elizabeth Taylor

Hier, la légende Elizabeth Taylor d'écran a disparu à l'âge de 79. Maintenant, le déni : Je ne suis pas un expert en matière de n'importe quoi Elizabeth Taylor (excepté le film publicitaire de son « diamant blanc ») et je ne suis également pas un ventilateur à elle. Film publicitaire épique « de diamants blancs » d'Elizabeth Taylor. Je sais non seulement à ce que ce film publicitaire ressemble, grâce à ma maman, je connais l'odeur du parfum. Le puits a joué, Taylor. Le puits a joué. Je pense qu'il est difficile que l'un d'entre nous les ventilateurs de film classiques perde un quelconque de nos favoris. Mes condoléances aux ventilateurs d'Elizabeth Taylor (aussi bien que son famille et amis qui ne lisent pas ce poteau, mais eux y a dehors il quelque part). Elle a fait quelques films qui sont essentiels au cinéma et sont bien ouvrés, certains de mes favoris : Le velours national, chat sur un toit chaud de bidon et qui a peur de la Virginie Woolfe ? E! lle était également en Cléopâtre, qui était une bombe, mais en film énormement cher et marqueur dans l'histoire de film. Elle était célèbre pendant presque sa vie entière, agissant dans les films quand elle était 10. connus dès l'abord pour ses regards symétriques et attrayants, ses yeux et son talent qu'elle a passé sa vie entière dans un genre « de réalité fausse. » Je ne peux pas imaginer vivre que longtemps dans la lumière de tache, il n'y a aucune merveille qu'elle hurlait le « gladiateur ! Gladiateur ! » aux oscars aussi bien que caracoler/roulant autour du ranch de Neverland avec Michael Jackson.One de mes vidéos préférées de Michael Jackson. Je sais que vous m'aviez attendu pour commenter au sujet de sa vie sociale. Son mariage notoire et re-marrying… volant le mari de Debbie Reynold, Eddie Fischer… mais moi se sentent comme elle a été dit. Le plus, si je vais parler d'une dame qui l'a circulé pendant ses années à Hollywood… ! va être Ingrid. Je veux dire que ce blog ne s'appelle pas «Â!  Elizabe th Taylor la vie et des films, » maintenant, est-il lui ? Sérieusement, vous devriez observer Carrie Fischer « désireux buvant » une exposition de femme. Hilare.
Great classic films, best all time movies

Elizabeth Taylor: 1932-2011

With broad beauty and has broad talent. With woman, whom I wants always more remember with the admiration, respect and inclination.
Great classic films, best all time movies

Elizabeth Taylor: In Memoriam

Movie legend Elizabeth Taylor has died at the age of 79. Arguably the biggest film icon, along with Marilyn Monroe, to come forth from the screen, Taylor was the much married, much publicized, much ridiculed and much loved star, known above all for her dark, sultry beauty.Literal volumes have been written about Elizabeth Taylor, as there was a lot in her long and varied life to record. Born in Hampstead, England on February 27, 1932, she came to the United States and began her career as a child star. Her soft voice, violet eyes and dark good looks, set her apart from others and with National Velvet, made in 1944, she made a name for herself and a wad of dough for her studio, MGM. ! Unlike other child actors, she made the transition to adult roles almost seamlessly, due to her mature beauty at an early age (the girl looked like a goddess at 16 in A Date with Judy).First married at 18 to hotel heir Nicky Hilton, she later married seven more times, twice to actor Richard Burton. Through them all, as well as her personal and public trials, tribulations and many health problems, the press followed her like a gossip hungry entourage. Heck, for an information hungry media, she was a veritable scandal buffet!Not only a pretty face and name in the news, Taylor was also an Academy award winning actress. Her first Oscar came to her in 1960 for Bu! tterfield 8 (some say as a consolation for nearly dyi! ng from pneumonia the previous year), her second for a much deserved performance with her then husband Burton in Who’s Afraid of Virginia Woolf in 1966. In 1999, La Liz was appointed Dame Commander of the Order of the British Empire. The title suited her.Besides the afore mentioned films, Taylor appeared in such classics as Little Women (1948), the original Father of the Bride (1950), Giant (1956), Cat on a Hot Tin Roof (1958) and the massive Cleopatra (1963) the mega-bomb in which she met and fell in lust/love with Burton and became the first actress to be paid $1 million for a single film. (The thing about Cleopatra is, despite its woeful reception by critics, it was the highest grossing picture of 1963, but due to its enormous production costs ~ it was set to cost $2 million, but ended up with a $44 million price tag ~ it lost millions). Love her or hate her, E! lizabeth Taylor was a true movie star.
Great classic films, best all time movies

Eightieth happy Mr. the senior off birthday

The senior off James Byron would Be 80 years today and in the honor off its birthday, observes has special film with him to celebrate this day. I cuts has special places in my heart for Jimmy after all, which He is the person who started to the signal off my interest for old films, thus I owe him much. Happy Jimmy birthday!
Great classic films, best all time movies

Elizabeth Taylor

Hier, la légende Elizabeth Taylor d'écran a disparu à l'âge de 79. Maintenant, le déni : Je ne suis pas un expert en matière de n'importe quoi Elizabeth Taylor (excepté le film publicitaire de son « diamant blanc ») et je ne suis également pas un ventilateur à elle. Film publicitaire épique « de diamants blancs » d'Elizabeth Taylor. Je sais non seulement à ce que ce film publicitaire ressemble, grâce à ma maman, je connais l'odeur du parfum. Le puits a joué, Taylor. Le puits a joué. Je pense qu'il est difficile que l'un d'entre nous les ventilateurs de film classiques perde un quelconque de nos favoris. Mes condoléances aux ventilateurs d'Elizabeth Taylor (aussi bien que son famille et amis qui ne lisent pas ce poteau, mais eux y a dehors il quelque part). Elle a fait quelques films qui sont essentiels au cinéma et sont bien ouvrés, certains de mes favoris : Le velours national, chat sur un toit chaud de bidon et qui a peur de la Virginie Woolfe ? E! lle était également en Cléopâtre, qui était une bombe, mais en film énormement cher et marqueur dans l'histoire de film. Elle était célèbre pendant presque sa vie entière, agissant dans les films quand elle était 10. connus dès l'abord pour ses regards symétriques et attrayants, ses yeux et son talent qu'elle a passé sa vie entière dans un genre « de réalité fausse. » Je ne peux pas imaginer vivre que longtemps dans la lumière de tache, il n'y a aucune merveille qu'elle hurlait le « gladiateur ! Gladiateur ! » aux oscars aussi bien que caracoler/roulant autour du ranch de Neverland avec Michael Jackson.One de mes vidéos préférées de Michael Jackson. Je sais que vous m'aviez attendu pour commenter au sujet de sa vie sociale. Son mariage notoire et re-marrying… volant le mari de Debbie Reynold, Eddie Fischer… mais moi se sentent comme elle a été dit. Le plus, si je vais parler d'une dame qui l'a circulé pendant ses années à Hollywood… ! va être Ingrid. Je veux dire que ce blog ne s'appelle pas «Â!  Elizabe th Taylor la vie et des films, » maintenant, est-il lui ? Sérieusement, vous devriez observer Carrie Fischer « désireux buvant » une exposition de femme. Hilare.
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âMaggie the cat is living room! â

Tennessee Williams Centennial Week Wraps

Maggie the Cat, the sex-starved slip-covered wife at the heart of Cat on a Hot Tin Roof (discussed earlier this week) is not just alive, she keeps coming back to life. True to her feline symbolism she's had several of them, eight bigs ones actually. Who will risk playing Maggie the Cat's ninth major life and how soon will that be?

Here is a history of the key Maggies for those who love the play... or just if you like to see major actresses in their lingerie. Have you ever seen a production of this play anywhere or just the 1958 film? Do tell in the comments. Would love to hear Tin Roof stories.

1955 ~ Original Maggie

Barbara Bel Geddes, originated the role on Broadway in the 1956 and won a Tony nomination. (She lost to Julie Harris in "The Lark"). Other Key Roles: I Remember Mama (1947, Oscar nomination. Lost to Claire Trevor in Key Largo), "Midge" in Alfred Hitchcock's Vertigo (1958), "Mary, Mary" on Broadway (1961, Tony nomination), and "Miss Ellie Ewing" on Dallas (1978-1990, 3 nominations/1 win at the Emmys)

1958 ~ Legendary Maggie

 

Elizabeth Taylor slinked, steamed, pawed and nagged her way to consecutive Oscar nomination #2 in the 1958 film version of Cat on a Hot Tin Roof. Suddenly Last Summer was Oscar nom #3 in 1959. Then a win for her fourth consecutive nomination for BUtterfield 8 (1960). Many more Liz photos in the gallery section of the site. If you've been away, catch up on the Liz commemorative posts.

Elizabeth is not the only two time Oscar winner who played Maggie. Lots of stars have slinked around in that white slip: Jessica Rabbit, a Dreamgirl, and even one of Elizabeth's few rivals in 60s Movie Superstardom. 

1974 ~Cognoscenti's Maggie

Elizabeth Ashley's early 60s film breakout gave way to a highly acclaimed theatrical career with lots of guest starring TV roles on the side. She won raves and a Tony nomination for the sexually charged 70s revival of Broadway. People Magazine featured her in their Stage section at the time.

'I was one of those people who became a 'star' very young, and I turned into a monstrous human beging - Bessie von Bitch, they called me. I was in analysis forever.'

She now sees herself as made for the stage - 'a leading woman who can handle anything they've got, but God knows I'm not a movie star.'

Other Key Roles: The original Corie from Broadway's Barefoot in the Park (Jane Fonda got the movie role); "Mollie" in Take Her She's Mine" (1962 Tony Award); Monica in The Carpetbaggers (1964, Golden Globe nomination); Jenny in the Best Picture nominee Ship of Fools (1965); Recently played Mattie Fae in August: Osage County (replacement).

1976 ~ Shrinking Maggie

Natalie Wood unfortunately peaked early, the bulk of her iconic roles (Rebel Without a Cause, West Side Story, Splendor in the Grass etc...) coming during her childhood to early 20s. In the 70s, her movie career dwindling, she tried stage roles and television, strangely opting for remakes of classic films; that's not the safest way to get great reviews, hon. She took on memories of Deborah Kerr in From Here to Eternity and then risked Maggie in the significant shadow of one of her major peers in 60s superstardom. You know who.

1984 ~ Especially Catty Maggie

Jessica Lange made a surprise small screen detour during the peak years of her movie stardom to do Maggie for PBS. I remember watching this on TV very late at night. My only memory of Lange's performance is that she was literalizing some of the cattiness with pawing / clawing gestures? But I could be making this up. Half asleep while watching and too young to get Cat's sexuality, was I.

TRIVIA-SPLOSION: Tommy Lee Jones played Brick in that special and unlike today's TV world, which grants automatic Emmy nods to big screen stars when they lead TV films, neither of them were nominated, though a couple of supporting players were. Here's the crazier part: Jones and Lange would reunite for Blue Sky (1994). Lange's character actually quotes Blanche Dubois in that movie. Lange won her second Oscar for that role in March of 1995 and then by October of that same year she was on television in the role her Blue Sky character liked to quote! Her turn in TV's A Streetcar Named Desire (1995) fared better than her Cat... as she was Emmy nominated (She lost to Helen Mirren in Prime Suspect).

1990 ~ End of an Era Maggie

Painting by Dave DeCaro

 Kathleen Turner ended her spectacularly sexy Decade of Superstardom not with a final movie role but on Broadway as sex-starved Maggie. [Editors Note: I couldn't find a suitable big photo, so I've used this painting from Dave DeCaro. You can see more of his artwork here.] From Body Heat (1981) to Cat on a Hot Tin Roof (1990), Kathleen was it. To readers who were alive during the 1980s, can I get an "amen"? Almost immediately afterwards her huge career took a downturn, the tailspin beginning with VI Warshawski, 1991. She's thankfully found second-act career life on the stage so perhaps Maggie pointed the way. We're very pleased about this as she's simply a great actor. She's back on Broadway now for "High". Will she win another Tony nomination?

2003 ~ Controversial Maggie

Ashley Judd played Maggie for the third Broadway revival. The production was not terribly enthused about and the media was far more interested in the backstage drama. It was well known during the run that Judd & Jason Patric (as Brick) were not getting along in the least. Eight years later he's still tell you so. He recently told Entertainment Weekly that she was "lazy, selfish and arrogant." You don't often hear actors dissing other actors that publicly. Which makes you wonder about what it was like for the other actors 8 shows a week for 5 months. Ned Beatty and Margo Martindale as Big Daddy and Big Mamma were the only Tony nominees and Beatty won.

2008 ~ Dreamgirl Maggie 

Anika Noni Rose led the recent Broadway effort which reimagined Cat with an all black cast. Frequent Oscar choreographer Debbie Allen directed the limited engagement to poor reviews but sold out houses. No Tony nominations, though.Other Key Roles: Emmie in "Caroline or Change" (Marvelous show. She won the "Featured" aka "Supporting" Tony Award), Lorrell in Dreamgirls (2006, SAG ensemble nomination), and "Tiana" in The Princess and the Frog (2009).

 

Thus concludes Tennessee Williams Week. We revisited Cat on a Hot Tin Roof, Suddenly Last Summer, The Fugitive Kind, The Rose Tattoo, and had a big web party for A Streetcar Named Desire. Hope you enjoyed!

Brick: What is the victory of a cat on a hot tin roof?Maggie: Just stayin' on it, I guess.

None of us touched on The Glass Menagerie which is probably the big miss this week. I also really meant to get to the Geraldine Page double feature of Summer & Smoke and Sweet Bird of Youth as I do have something to say about those. Maybe a Geraldine Page triple-feature next month? We never talk about her and we should. We've never even talked about A Trip To Bountiful. Gah, never enough time, is there?

Great classic films, best all time movies

Eightieth happy Mr. the senior off birthday

The senior off James Byron would Be 80 years today and in the honor off its birthday, observes has special film with him to celebrate this day. I cuts has special places in my heart for Jimmy after all, which He is the person who started to the signal off my interest for old films, thus I owe him much. Happy Jimmy birthday!
Great classic films, best all time movies

Elizabeth Taylor: 1932-2011

With broad beauty and has broad talent. With woman, whom I wants always more remember with the admiration, respect and inclination.
Great classic films, best all time movies

âMaggie the cat is living room! â

Enveloppes centennales de semaine du Tennessee Williams Maggie le chat, l'épouse glisser-couverte sex-starved au coeur du chat sur un toit chaud de bidon (discuté plus tôt cette semaine) n'est pas simplement vivant, elle continue à revenir à la vie. Rectifiez à son symbolisme félin qu'elle a eu réellement plusieurs de elles, huit bigs ceux. Qui risquera de jouer Maggie la vie principale du chat neuvième et quand est-ce que ce sera ? Voici une histoire du Maggies principal pour ceux qui aiment le jeu… ou juste si vous aimez voir les actrices importantes dans leur lingerie. Avez-vous jamais vu une production de ce jeu n'importe où ou juste le film 1958 ? Dites dans les commentaires. Aimerait entendre l'étain couvrir des histoires. original 1955 de ~ Maggie Bel Geddes de Barbara, lancé le rôle sur Broadway du 1956 et gagné une nomination élégante. (Elle a perdu à Julie Harris dans « l'alouette »). D'autres rôles principaux : Je me rappelle la maman (1947, nomination d'oscar. Perdu à Claire Trevor dans Largo principal), le « moucheron » en Vertigo d'Alfred Hitchcock (1958), la « Mary, la Mary » sur Broadway (1961, nomination élégante), et la « Mlle Ellie Ewing » sur Dallas (1978-1990, victoire 3 nominations/1 chez l'Emmys) ~ 1958 Maggie légendaire   ; Elizabeth Taylor slinked, a cuit à la vapeur, pawed et harcelé sa manière à la nomination consécutive #2 d'oscar dans la version de 1958 films du chat sur un toit chaud de bidon. Était soudainement l'été dernier le nom #3 d'oscar en 1959. Puis une victoire pour sa quatrième nomination consécutive pour BUtterfield 8 (1960). Beaucoup plus de photos de Liz dans la section de galerie de l'emplacement. Si vous avez été parti, rattrapez sur les poteaux commémoratifs de Liz. Elizabeth n'est pas le seul gagnant d'oscar de deux fois qui a joué Maggie. Un bon nombre d'étoiles slinked autour du fait blanc glissez : Lapin de Jessica, un Dreamgirl, et même un de peu de rivaux d'Elizabeth dans 60s le film Superstardom. Ils sont tous après le saut.   ;
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