An invaluable resource for film buffs and future storytellers interested in the creation of great Hollywood films over the...
Iconic Hollywood filmmakers speak candidly about narrative, their process, and juicy experiences from the industry.
“This is a once-in-a-lifetime event,” says moderator Jane Summer. “At no other event will you see a lineup like this one. Now let’s meet our real-life heroes.” She was speaking specifically about Ron Howard and the other talented writers, directors, and producers on her panel at the Austin Film Festival, but the same could be said for every chapter in this follow-up to On Story: Screenwriters and Their Craft (2013), offering even more curated highlights from the festival and its sister PBS series. The minds behind some of the most successful and well-crafted films of late-20th- and early-21st-century Hollywood cover a range of topics, from philosophical examinations of characters to the audience’s relation to a story. They also gladly offer pieces of showbiz mythology that film buffs crave: a pre–L.A. Confidential Brian Helgeland carrying unwanted scripts down Sunset Boulevard; Harold Ramis bought his first home with reviews of Animal House as collateral; Jonathan Demme nearly chose Laura Dern over Jodie Foster for the character of Clarice Starling in Silence of the Lambs. Insights into process will also enthrall budding writers—e.g., Thelma and Louise scribe Callie Khouri’s admission that she opened screenplay guru Syd Field’s book once and never looked at it again, which is surprising since Thelma is often considered a pinnacle of mainstream Hollywood three-act structure. Editors Morgan and Perez achieve these fresh revelations by choosing well-known projects and then pulling deeper, more fascinating observations from the creators. The results are impressive. However, for today’s worldly film students, the scope may seem limited, as it largely ignores the avant-garde and foreign cinema and features few discussions about the tastes and technologies currently rocking the industry. But for those interested in this specific milieu of Hollywood, there are few other examinations as personal, surprising, and well-executed.
An invaluable resource for film buffs and future storytellers interested in the creation of great Hollywood films over the last 40 years.Pub Date: Oct. 4, 2016
ISBN: 978-1-4773-1090-8
Page Count: 224
Publisher: Univ. of Texas
Review Posted Online: July 30, 2016
Kirkus Reviews Issue: Aug. 15, 2016
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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