- Taschenbuch: 544 Seiten
- Verlag: Broadway; Auflage: 1 (18. Februar 2003)
- Sprache: Englisch
- ISBN-10: 0767911814
- ISBN-13: 978-0767911818
- Größe und/oder Gewicht: 23,2 x 18,2 x 3,2 cm
- Amazon Bestseller-Rang: Nr. 787.705 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Why We Make Movies
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Produktbeschreibungen
Kurzbeschreibung
A sparkling collection of interviews with African American directors and producers.
Bringing together more than thirty candid conversations with filmmakers and producers such as Spike Lee, Gordon Parks, Julie Dash, Charles Burnett, and Robert Townsend, Why We Make Movies delivers a cultural celebration with the tips of a film-school master class.
With journalist George Alexander, these revolutionary men and women discuss not only how they got their big breaks, but more importantly, they explore the creative process and what making movies means to them. Why We Make Movies also addresses the business of Hollywood and its turning tide, in a nation where African Americans comprise a sizable portion of the film-going public and go to the movies more frequently than whites. In addition, Alexander’s cast of directors and producers considers the lead roles they now play in everything from documentaries and films for television to broad-based blockbusters (in fact, the highest-grossing film in Miramax history was Scary Movie, directed by Keenen Ivory Wayans). For film buffs and aspiring filmmakers alike, Why We Make Movies puts a long-overdue spotlight on one of the most exciting and cutting-edge segments of today’s silver screen.
INTERVIEWS INCLUDE: MELVIN VAN PEEBLES • MICHAEL SCHULTZ • CHARLES BURNETT • SPIKE LEE • ROBERT TOWNSEND • FRED WILLIAMSON • ERNEST DICKERSON • KEENEN IVORY WAYANS • ANTOINE FUQUA • BILL DUKE • FORREST WHITAKER • JULIE DASH • KASI LEMMONS • GINA PRINC-BLYTHEWOOD • JOHN SINGLETON • GEORGE TILLMAN Jr. • REGINALD HUDLIN • WARRINGTON HUDLIN • MALCOLM LEE • EUZHAN PALCY • DOUG McHENRY • DEBRA MARTIN CHASE • St. CLAIR BOURNE • STANLEY NELSON • WILLIAM GREAVES • KATHE SANDLER • CAMILLE BILLOPS • HAILE GERIMA • GORDON PARKS
Bringing together more than thirty candid conversations with filmmakers and producers such as Spike Lee, Gordon Parks, Julie Dash, Charles Burnett, and Robert Townsend, Why We Make Movies delivers a cultural celebration with the tips of a film-school master class.
With journalist George Alexander, these revolutionary men and women discuss not only how they got their big breaks, but more importantly, they explore the creative process and what making movies means to them. Why We Make Movies also addresses the business of Hollywood and its turning tide, in a nation where African Americans comprise a sizable portion of the film-going public and go to the movies more frequently than whites. In addition, Alexander’s cast of directors and producers considers the lead roles they now play in everything from documentaries and films for television to broad-based blockbusters (in fact, the highest-grossing film in Miramax history was Scary Movie, directed by Keenen Ivory Wayans). For film buffs and aspiring filmmakers alike, Why We Make Movies puts a long-overdue spotlight on one of the most exciting and cutting-edge segments of today’s silver screen.
INTERVIEWS INCLUDE: MELVIN VAN PEEBLES • MICHAEL SCHULTZ • CHARLES BURNETT • SPIKE LEE • ROBERT TOWNSEND • FRED WILLIAMSON • ERNEST DICKERSON • KEENEN IVORY WAYANS • ANTOINE FUQUA • BILL DUKE • FORREST WHITAKER • JULIE DASH • KASI LEMMONS • GINA PRINC-BLYTHEWOOD • JOHN SINGLETON • GEORGE TILLMAN Jr. • REGINALD HUDLIN • WARRINGTON HUDLIN • MALCOLM LEE • EUZHAN PALCY • DOUG McHENRY • DEBRA MARTIN CHASE • St. CLAIR BOURNE • STANLEY NELSON • WILLIAM GREAVES • KATHE SANDLER • CAMILLE BILLOPS • HAILE GERIMA • GORDON PARKS
Synopsis
Bringing together more than thirty candid conversations with filmmakers and producers such as Spike Lee, Gordon Parks, Julie Dash, Charles Burnett, and Robert Townsend, WHY WE MAKE MOVIES delivers a cultural celebration with the tips of a film-school master class. With journalist Alexander, these revolutionary men and women discuss not only how they got their big breaks, but more importantly, they explore the creative process and what making movies means to them. Alexander addresses the business of Hollywood and its turning tide, in a nation where black viewers comprise a sizeable portion of the film-going public and go to the movies more frequently than whites. In addition, the cast of directors and producers in this collection considers the lead roles they now play in everything from documentaries and films for television to mass-market blockbusters (in fact, the highest-grossing film in Miramax history was Scary Movie, directed by Keenen Ivory Wayans). For film buffs and aspiring filmmakers alike, WHY WE MAKE MOVIES puts a long-overdue spotlight on one of the most exciting and cutting-edge segments of today's silver screen.
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Einleitungssatz
Movies. I've always loved the movies. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug
Movies. I've always loved the movies. Lesen Sie die erste Seite
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Reflecting Cinema: Black Filmmakers Speak
27. August 2003
Format:Taschenbuch
It is always a treat to read a work by an author who masters his subject and yet is very humble about his achievement. George Alexander's knowledge of movies comes from exposure to the magic of film at a young age, but also through learning the craft of screenwriting, and filmmaking in general, after college. His book is a gold mine as far as learning about black filmmakers and black filmmaking is concerned; it is almost an alternative, outsider's take on the American Film Industry and beyond. What makes it invaluable though is more that the reader is granted access both to the "Usual Suspects" of black filmmaking fame and the talented, less well-known and upcoming black filmmakers. Furthermore, one of Alexander's major achievements is to have managed to create a space where these two categories of black filmmakers could give us "a master class" in filmmaking.
Given the dynamism, diversity, and ever growing number of black filmmakers making movies successfully nowadays, it was always going to be difficult for Alexander to decide who would be featured in "Why We Make Movies": no criticism focused on why he did not include so and so cannot be taken seriously. But how do you conceptualise such a book? Alexander does a brilliant job here because he manages to propose a structure based on chronology, genre, filmmaking potential, filmmaking achievement, and crossing over, to name but a few. Yet Alexander seems to have no other ambition than taking the reader on "an odyssey across the plains of Black America's contributions to the magic of cinema".
The inclusion of Prof. Manthia Diwawara as the exception that confirms the rule in Alexander's book is more than justified. It is beyond the scope of this review to elaborate on Diawara's extraordinary body of work, e.g. his contributions to African/Black Diapora Studies. However, I would say that with Diawara, Haile Gerima, and Euzhan Palcy featured in "Why We Make Movies", for future editions Alexander might want to widen its concept so as to cater for Black Diaspora Cinema more strongly, and to refocus its central thesis in order to make it less casual. I am putting forward this latter point because "Why We Make Movies" is already a scholarly book, yet one in a position to be improved a great deal. No one interested in (black) cinema can afford to miss it: "that's the truth rruth".
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Enjoyable, educational book
3. April 2003
Format:Taschenbuch
Lovers of film, and especially those individuals who are interested in the behind-the-scenes action of movie making, will be thrilled by George Alexander's Why We Make Movies. Not only does the book get up close and personal with 35 or so of the most notable filmmakers of our time, it also serves as a historical context for black film, and provides information not commonly known about our favorite actors (including how Tupac got his first role in Juice), scripts, budgets, television productions, and the many problems encountered and conquered when it comes to filmmakers such as Spike Lee, George Tillman, Keenen Ivory Wayans, Robert Townsend, John Singleton, and many more.
The book is upfront about the racial and discriminatory issues that plague the industry and how, perhaps, one should approach filmmaking once they are aware of all the long standing issues. You get to read which scene Spike Lee regrets out of the dozens of movies he's made; you get to read what kind of power, if any, do successful black filmmakers have; you get to know their feelings about the current slate of movies that are being released, how directors prepare for shoots, just a wealth of vital information and tidbits that will broaden your knowledge about the industry.
Although the age range, gender, and backgrounds of the interviewees vary, one common bond is their love for film. Why We Make Movies is an important, eye-opening account that will cause your view of the magic of films to be enhanced.
Great Interviews!!!
25. März 2010
Format:Taschenbuch|Von Amazon bestätigter Kauf
Why we make movies is a question and answer book with the author, and several contemporary black filmmakers. Personally I found it very refreshing that the answers given are straight from the artists themselves. This means that we get to hear "straight from the horse's mouth" how these unique people got started, and why they make films. I ordered this book for two academic presentations, and two papers. One paper and accompanying presentation about a Biography on our choice of Women Director's (Julie Dash for me,) and another paper and accompanying presentation on that director as an auteur. So far, I have referenced more information from this book than all of the information from BOTH of our ASSIGNED textbooks from class. Offering unique, personal confessions from these filmmakers, this author does a nice job of bringing something intimate, fun, and unique in a book that is refreshing to read.
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