Alfred Hitchcock | Director

Peter Bogdanovich interviews Alfred Hitchcock, 1963

You never watch your films with an audience. Don't you miss hearing them scream?

quote-leftNo. I can hear them when I'm making the picture.

Do you feel that the American film remains the most vital cinema?

quote-leftWorldwide, yes. Because when we make films for the United States, we are automatically making them for all the world--because America is full of foreigners. It's a melting pot. Which brings us to another point. I don't know what they mean when they talk about "Hollywood" pictures. I say, "Where are they conceived?" Look at this room--you can't see out the windows. We might just as well be in a hotel room in London, or anywhere you like. So here is where we get it down on paper. Now where do we go? We go on location, perhaps; and then where do we work? We're inside on a stage, the big doors are closed, and we're down in a coal mine: we don't know what the weather is like outside. Again we don't know where we are--only within our film, within the thing we're making. That's why it's such nonsense to talk about locale. "Hollywood." That doesn't mean anything to me. If you say, "Why do you like working in Hollywood?" I would say, because I can get home at six o'clock for dinner.

Sun, 06/21/2020 - 19:07
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Francis Ford Coppola | Director, Producer, Screenwriter, Composer

Francis Ford Coppola - Up to "The Cotton Club"

You served your apprenticeship originally with Roger Corman working on horror movies. Was that a good apprenticeship?

quote-leftOh yeah. Aside from the fact that it was the only apprenticeship possible, the only way to gain that experience. Nowadays there are many people like Roger making so-called exploitation films. But in those days there was nothing other than Roger, and I was lucky to become his personal assistant, and he assigned me many many different jobs, from editing and writing to being a sound recordist, cameraman - you name it, I did it for him. And although the pay was, of course, very very poor, what you gained in experience and confidence more than made up for it.

Wed, 06/19/2019 - 13:30
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Alf Clausen | Composer *

Alf Clausen: The Simpsons' Secret Weapon

What would a normal "Simpsons" work schedule be like for you?

quote-leftWhen we're on a week-to-week schedule, what I will normally do is spot an episode on Friday afternoon. The music editor will prepare my timing notes on Saturday and Sunday and then I'll start writing, usually Monday morning if it's a "normal" episode of "30 cues or less." If it's more than that, I'll sometimes start on Sunday to get a jump on things and then I'll put in probably four long days—Monday, Tuesday, Wednesday, Thursday—of maybe nine in the morning until 11:30 or midnight every day. And then we spot the next week's episode Friday afternoon again and I'll record the cues that I've composed during the past week on Friday night starting at seven. We usually have anywhere from a three to a three-and-a-half hour recording session to do those 30 cues. Every week is different on "The Simpsons" as you know. It really is dependent on whether it's straight underscore type of recording that I have to do or if I have to record vocals—if I have to do orchestral sweeteners of songs that I've written in the past. So, it's never a dull moment.

Tue, 06/18/2019 - 18:02
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Corey Eubanks' Stunt Stories Returns Dec 2, 2018

Corey Eubanks' Stunt Stories Returns

Corey Eubanks will disclose the startling truth about what really took place during the filming of some of the biggest television shows and feature films Hollywood has ever produced, including “The Dukes of Hazzard” – “The Fall-Guy” – “The A-Team” “TRANSFORMERS” - “THE FAST AND FURIOUS” and “TERMINATOR GENISYS”.

Tue, 10/23/2018 - 07:03
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David Cronenberg | "Cosmopolis" (2012)

David Cronenberg - General Discussion

What do you think about this phone, first of all?

It's kind of interesting, isn't it? I mean, it's not as revealing as one might have thought. And people are just getting used to the incredible mobility that a remote phone gives you, moving around, doing stuff while you're talking on the phone, so I wonder whether this is going against the momentum of that freedom.

Thu, 02/15/2018 - 08:25
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Alex Cox | Director/Filmmaker

Alex Cox - On his films

Where do you get the money for your films?

This is the second-most-asked question I encounter. (The most-asked question is, "What's Joe Strummer doing nowadays?") As a young lad, scrabbling in the red sandhills of my home planet, Mars, I found a huge trove of Mexican tesobonos and American dollars in a cave. Apparently they had been stashed there by corrupt American and Russian astrounauts, some time in the late 21st century.

Wed, 02/07/2018 - 10:27
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Director, Michelangelo Antonioni

Michelangelo Antonioni (On Directing)

I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is: I don't know. The second: All my opinions on the subject are in my films. Among other things, I am an opponent of any separation of the various phases of the work. Such separation has an exclusively practical value. It is valuable for all those who participate in the work - except for the director, if he happens to be both author and director at once. To speak of directing as one of the phases in this work is to engage in a theoretical discussion which seems to me opposed to that unity of the whole to which every artist is committed during his work.

Mon, 01/22/2018 - 16:29
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Michael Apted | Director

Up and Away with Michael Apted

It was far from an auspicious debut. The first official press and industry screening of acclaimed British director Michael Apted's latest documentary, Inspirations, at the Toronto International Film Festival was plagued with projection problems. The framing was off, there was sound and then there was none. Some audience members joked that perhaps the hapless projectionist had been ingesting illicit substances when he should have been paying attention to the screen. And although Apted himself was not on hand to witness the unfortunate event, he heard all about it by the time our interview rolls around the following morning.

"You never really get a second chance," he sighs, clearly irked by the situation, "especially if it's a visual film."

Mon, 01/22/2018 - 04:29
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Charlton Heston, James Stewart, Betty Hutton, Lane Chandler | "The Greatest Show on Earth" (1952)

Roy Wagner, ASC | Favorite Forgotten Films

Although I saw many films before this, I recall the power that The Greatest Show on Earth held over me as a child. The sense of showmanship and the scope drawn into that one-dimensional screen captured my imagination. I recall that, at the time, it suggested the power of which the cinema was capable.

Fri, 01/19/2018 - 04:59
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Jean Coulter Stunt

Confessions of a retired Stunt Woman I

This (above), was one of those stunts where everything went wrong! It was a picture called "Honky Talk Freeway" directed by John Schlesinger. And the stunt team read like a "Who's Who" of Hollywood Stunt people!

The first time, I flew out of the car, it slid over the hill with me. I rolled down the hill while the car was right next to me. As the tire was sliding within inches of my face, I wondered if it could flip while sliding so fast and I would end up underneath it.

Thu, 01/18/2018 - 05:03
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