In these twenty-one interviews, filmmaker Peter Greenaway expresses his film aesthetic and discusses his combat with the dominant Hollywood style of filmmaking. His films have run unmistakably against
Ranging from 1988 to 1999, this book includes interviews with the acclaimed Chinese director of such films as Red Sorghum (1987), Shanghai Triad (1995), and Not One Less (1999) and the trilogy Ju Dou
Roman Polanski (b. 1933) arrived on the international scene in 1962 with his first feature film, Knife in the Water, and his face would be on the cover of Time magazine by the end of that year. His vi
Director John Woo (b. 1946) reinvented the modern action movie and helped open the door for Asian filmmakers to the Western world. His hyper-violent, highly choreographed style made him a box office p
The films of Jonathan Demme (b. 1944) reflect his ebullient personality and are often infused with his love for Caribbean culture, pop music, fashion, and characters who reveal offbeat tastes and dept
Hal Ashby (1929-1988) is considered to be the lost genius of the New Hollywood generation. While his name does not bear the familiarity of, say, Robert Altman or Martin Scorsese, his diverse films are
For investing movies with an image of style and glamour George Cukor (1899--1983) is considered one of the founding fathers of the Golden Age of Hollywood. The roll call of the great films he made and
The films of John Waters (b. 1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Bu-uel and Salvador Dali's Un Chien Andalou. In attempting to reinvigor
Roger Corman (b. 1926) is known by many names-craftsman, artist, maverick, schlock-meister, mini-mogul, mentor, cheapskate, and King of the B's. Yet his commitment to filmmaking remains inspired. He l
The legendary Dennis Hopper (1936-2010) had many identities. He first broke into Hollywood as a fresh-faced young actor in the 1950s, redefined himself as a rebel director with Easy Rider in the late
Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, recognized his writerly mission to reveal the aspirations of his characters in a material society structured
The legendary Dennis Hopper (1936-2010) had many identities. He first broke into Hollywood as a fresh-faced young actor in the 1950s, redefined himself as a rebel director with Easy Rider in the late
Clint Eastwood (b. 1930) is the only popular American dramatic star to have shaped his own career almost entirely through films of his own producing, frequently under his own direction; no other drama
David Fincher (b. 1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is,
Beginning in 1957 with the release of his directorial debut The Left Handed Gun, Arthur Penn (b. 1922) quickly became an iconoclastic and influential American film director. Moving deftly between come
Steven Spielberg has become a brand name and a force that extends far beyond the movie screen. Phrases like "phone home" and the music score from Jaws are now part of our cultural script, appearing in
Film -- Biography--> With six entries at the Cannes Film Festival thus far, Lars von Trier has been a Cannes award winner four times. Without question, he is the most intriguing film director to emerg
William Wyler (1902-1981) was one of the most honored and successful directors from Hollywood's golden age. One of the film industry's most influential artists, he received three Academy Awards, twelv
