作者简介

From Publishers Weekly
"Cassavetes' films were quarried from his most private feelings and experiences," writes editor Ray Carney in his introduction to Cassavetes on Cassavetes, and then illustrates his point with the writings, interviews and recorded conversations of a beloved cult figure. First an actor and then a director (Faces; A Woman Under the Influence), John Cassavetes, who died in 1989, remains known for gamely trying to make his art in Hollywood, and then gamely wreaking havoc when he was overrided. Of his television series, Staccato (later called Johnny Staccato at the insistence of network executives), the director said: "It is virtually impossible to get approval on a script that has substance." Fans and film buffs will delight in this rare look inside the mind of this talented, innovative and influential filmmaker. Photos.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Cassavetes alternated routine acting work with efforts to mount and direct low-budget personal films, often starring wife Gena Rowlands and friends like Peter Falk and Ben Gazzara. Rejecting the label of intellectual, Cassavetes considered himself an intuitive, streetwise filmmaker. Though his films would never reach a mass audience, he loved the collaborative, creative process of making movies, and his work continues to influence Martin Scorsese, Oliver Stone, and others active in U.S. cinema. Sadly, a lifetime of heavy drinking led to Cassavetes's premature death of liver disease in 1989. This book, edited by Carney (film and American studies, Boston Univ.; The films of John Cassavetes) and based on extensive interviews, is the autobiography Cassavetes might have written. Cassavetes was a self-described "bigmouth" and "troublemaker" as well as a prolific writer and talker. In this book, he discusses his actor's beginnings, honing his craft in the golden age of live television drama, and his growing disenchantment with the studio system. He expounds on improvisation, shaping a film performance, favorite themes of love and marriage, and the eternal problems of independent film distribution. Reading this book is like attending an extended master class at the Actor's Studio, a reminder of a rebellious spirit sadly missed. Recommended for independent-film collections. Stephen Rees, Levittown Regional Lib., PA
Copyright 2001 Reed Business Information, Inc.

内容简介

Since his death in 1989, John Cassavettes has become increasingly renowned as a cinematic hero--a renegade loner who fought the Hollywood system, steering his own creative course in a career spanning thirty years. Having already established himself as an actor, he struck out as a filmmaker in 1959 with Shadows, and proceeded to build a formidable body of work, including such classics as Faces, Woman Under the Influence, The Killing of a Chinese Bookie, and Gloria. In Cassavettes on Cassavettes, Ray Carney presents the great director in his own words--frank, uncompromising, humane, and passionate about life and art.


From Publishers Weekly

"Cassavetes' films were quarried from his most private feelings and experiences," writes editor Ray Carney in his introduction to Cassavetes on Cassavetes, and then illustrates his point with the writings, interviews and recorded conversations of a beloved cult figure. First an actor and then a director (Faces; A Woman Under the Influence), John Cassavete...

下载地址

豆瓣评论

  • 飘飘然
    Revelation!10-18
  • Tuscano
    花了一年多的时间完全消化。他的性格、偏好、生活方式和创作方式的一体化程度,是任何一个时代和个体都无法复制的。读之前就隐约觉得,那些只通过看他的片子就想着怎么去模仿他的创作者有点无知可笑,看完后才发现这帮人有这么蠢01-25
  • 书翎
    "Not a saint, not a visionary, not a hero – but a man." He was the quintessential outsider – a lone wolf hidden behind a wall of jokes and routines. Wherever he was, he wasn’t really there. Say what you are. Not what you would like to be. Not what you have to be. Just say what you are. And what you are is good enough.04-23
  • 好样的
    真的毫不亚于法国新浪潮。而且二者出现的时间也基本一样呢。A woman under the influence那整整一章虽然都只是访谈和评论但读起来一直是神经紧绷的状态。非常励志呢。09-21
  • Difficult Boy
    “拥有一种哲学就是去了解如何爱、在何处安置爱、去了解友谊和持续的重要。其他所有哲学,负面的哲学,看起来都把哲学变得现代也更混账了。我不认为人可以没有哲学而生存,也就是说,你在何处能够爱,那个你能放置你的爱的重要地方是哪里(因为除了它你无处可放)?你可以像大臣和神父一样四处说‘是的,我的孩子,祝福你’,但人们不是那样生活的。生活中有愤怒、敌对、问题、贫穷...人们的生活中有巨大的失望,所以他们需要一种哲学。某种程度上我认为每个人需要的是说,‘我在何处、如何爱?我能坠入爱而得以生存下去吗?我能因此获得某种安宁吗?’我们拍的每一部电影都是为了让角色去找到一种哲学,所以我需要角色真的去分析爱,讨论它、毁灭它,互相伤害...我感兴趣的只有爱和它的匮乏、当爱停止、我们真正需要的东西被夺走引起的伤痛。”06-04

猜你喜欢

大家都喜欢