By Gary Morris
‘Action!’ provides nineteen striking interviews with administrators prior and current, from worldwide, operating in a number of genres, budgets and creation environments from significant studios to indie and DIY. the result's a colourful staff portrait of the filmmaking artwork, one of those competition in phrases that explores every little thing from the large artistic and private satisfactions to the demanding situations and frustrations of the process.
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Additional resources for Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran
She is as miserable as he, only she doesn’t even know it! He can’t escape. He can’t make up his mind. He is the American man remaining a child. He is a producer of toys; still playing with toys. Then, his youth comes back. Knocks right on his door. And at the end, of course, he walks to the window and there is the plane flying away. It is his youth, his happiness. You will see exactly the same thing at the end of The Tarnished Angels. Throughout my pictures there are these recurring signs–the plane, those goddamned cars, and the pond to which they all want to return, all these victims.
But the way it was before I reshot it was even more direct. There, Groves goes back to his office and watches the plane fly away. The shot’s still there now, as the robot walks towards the camera. But now it cuts. I had it keep walking, walking, then fall off the table. The camera pans down, whoom! And there’s the robot, on the floor, spinning, rmmm, rhmm, rhhmm…rhhmmm, slowly spinning to a halt. The End. That is complete hopelessness. This toy is all the poor man has invented in his life. It is a symbol of himself, an automaton, broken.
He is the outsider looking up into the prison of the air. Because up there, in those planes, is a prison too. These flyers are trying to leave the prison of society–which was terrible after the war. They think they are escaping into the air. But we are all prisoners, into the final prison, which is the grave, and death. This is something that I don’t think Rock understood, but for his part, as the outsider, his confusion as an actor helped. There is always in the films a dialectic–between the imprisoned group, and the one who wants to come inside.
Action!: Interviews with Directors from Classical Hollywood to Contemporary Iran by Gary Morris