By Jeff Rovin
A pictorial background of the early 40's via early 70's technological know-how fiction videos. Describes some of the video clips, the actors who have been in them, and the issues that have been performed to accomplish the results that made sci-fi what it's. vital for any early sci-fi motion picture buff.
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Le cinématographe de Robert Bresson se veut aussi différent du cinéma que de l. a. littérature dont pourtant il s'inspire largement. l. a. différence se situe au niveau du récit. Au cinéma, l. a. caméra enregistre des acteurs jouant dans un décor. Le cinéma met le récit devant los angeles caméra, il en fait l'avantage du tournage : ce n'est là, pour Bresson, que du théâtre photographié.
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Die tiefgreifenden Umwälzungen in unserer sozialen Existenz und die Störung der individuellen Anpassungen, die beide unsere Zeit charakterisieren, dürften nicht nur, wie gerne unterstellt wird, An zeichen für eine überstürzte Entwicklung sein. Die vielfältigen Umschichtungen, die den Zustand des Menschen in verschiedenen Hinsichten änderten, könnten morgen in einem grundlegenden und im weiteren Sinn umfassenden Wandel dieses Zustands enden und sind, genauer gesprochen, als Mutation zu bezeichnen.
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Additional resources for A Pictorial History of Science Fiction Films
J A G : What prompted you to direct? T B : I had always wanted to direct a movie. For me, My Bodyguard was a test of several things. It was a test of whether I had learned anything over the years I had been in the movie business, like a test in school. Had I learned anything? Had m y life added up sufficiently in terms of m y experience that I could direct a movie? That was one test it represented for me. T h e second test was should I stay in the movie business because I wouldn't want to stay in the business without moving to directing, and I didn't really k n o w if I could stay in the movie business given m y limited tastes.
It's almost a musical, based on the life of Janis Joplin. I was working with Bo Goldman on that one and we were doing a series of rewrites. I also had an agreement with United Artists to adapt The Fountainhead. All these projects were in the air at once. I postponed Fountainhead until we had a first draft on Pearl, then after meetings with Jimmy began Frank Costello. MPC: You seem to write quickly. MC: Sometimes. Other times it's quite slow and painful. The Fountainhead was that kind of script.
Having sympathy with the actors and allowing them to give you what they have to give makes sense. Picking a story that you can do for the time and the money you've got also makes sense. If you've got a couple of hundred thousand dollars, don't make a Civil War epic. JAG: What kind of advice would you give to aspiring filmmakers? JGA: Get into the insurance business. Seriously, you've got to be able to afford to survive the dry periods. It's very hard. There are a lot of people with more credits and more experience out there scrounging for jobs.