Directors: From Stage to Screen and Back Again by Susan Beth Lehman

By Susan Beth Lehman

 
Despite the expanding approval for educational filmmaking courses within the usa, a few of modern America’s so much intriguing movie administrators have emerged from the theater international.  Directors: From level to display and again Again incorporates a sequence of interviews with administrators who did simply that, transitioning from paintings on level productions to paintings in tv and on full-length features.
 
Taken jointly, those interviews display the myriad ways that a theater historical past can engender leading edge and stimulating paintings in movie. As particular and idiosyncratic as the personalities they characteristic, the administrators’ conversations with Susan Lehman variety over an enormous box of subject matters. each strains its subject’s own creative trip and explores how she or he dealt with the problem of relocating from degree to display. mixed with a foreword by way of Emmy award–winning screenwriter Steve Brown, the administrators’ collective wisdom and event may be valuable to students, aspiring filmmakers, theater aficionados, and movie enthusiasts.

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All the films that I had grown up with and loved were of that process. The directors like George Cukor and Frank Capra are theater guys. They all came from a world of storytelling. They had learned from Ernst Lubitsch and the people who had come early on to Hollywood and who had all come from theater. Whether it was Czechoslovakian theater, or Russian Theater, or wherever it was, they understood the nature of the story. It was like linear, representative painting. We were all painting clowns. When I’m teaching, I say paint clowns because that is what Picasso did.

So you do scenes. I always prefer my class doing scenes from scripts that have already been made. Proven good material. SL: What scenes do you like to use? GC: So, so many. I use movies, plays, newspaper articles, magazine articles; I will use anything. There are times I simply use improvisation. There are so many different things to learn. ] Getting back to your point about realism. One of the exercises that 26 Gilbert Cates has been wonderful over the years is, when you meet a new group of acting or directing students, to ask everyone in the room to introduce themselves.

Rings Around the World [1966] became the first movie I directed. 20 Gilbert Cates In 1967 I produced a play on Broadway called You Know I Can’t Hear You When the Water’s Running by Robert Anderson and directed by Alan Schneider. Then in 1968 I produced another play, I Never Sang For My Father, written and directed by the same men. The cast included Hal Holbrook, Teresa Wright, and Lillian Gish. I loved that script. I went back to Columbia [Pictures] and pitched the film with me as the director.

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