The Oliver Stone Encyclopedia by James M. Welsh, Donald M. Whaley

By James M. Welsh, Donald M. Whaley

Oliver Stone has written and directed many memorable movies whereas additionally constructing a name for tackling arguable topics, reminiscent of the Turkish legal procedure (Midnight Express), the Vietnam warfare (Platoon and Born at the Fourth of July), insider buying and selling (Wall Street), presidential assassination (JFK), and a voyeuristic media (Natural Born Killers). alongside the way in which, Stone has been nominated for greater than 10 Academy Awards and 3 occasions got Oscars for his work.

In The Oliver StoneEncyclopedia, James M. Welsh and Donald M. Whaley offer an overarching overview of Stone's paintings as screenwriter, manufacturer, and director. whereas the entries during this quantity deal with all the traditional facets of Stone’s occupation, in addition they discover new avenues of serious review, specifically affects reminiscent of Friedrich Nietzsche and Buddhism, which Stone switched over to within the Nineties. additionally, this quantity strains Stone’s obsession with Latin American politics, obtrusive in his movie Salvador (1986), his screenplay for Alan Parker’s Evita (1996), and the documentaries Commandante (2003), searching for Fidel (2004), and South of the Border (2010).

Each access is by means of a bibliography of released assets, either in print and on-line. A entire and fascinating exam of the director, The Oliver Stone Encyclopedia will entice students and enthusiasts alike because the so much accomplished reference in this director's physique of labor.

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At the end of the film, the coach, with an impassioned speech, succeeds in bringing the team together. In a final play when the team is going for a win in a play-off game, as team members break the huddle and head to the line of scrimmage, the players are filmed in such a way as to resemble the gunfighters in The Magnificent Seven (which Stone 10/24/12 12:04 PM 12 ■ ANY GIVEN SUNDAY acknowledged in his audio commentary on the DVD of Any Given Sunday), an image that symbolizes hired guns coming together with a common purpose.

Wall Street and Any Given Sunday also are connected by their use of shark imagery. Stone saw Gordon Gekko (Michael Douglas), the corporate raider in Wall Street, as “a white shark . . ” The name of the team in Any Given Sunday is, of course, the Sharks. Two other things tie all three films— Scarface, Wall Street, and Any Given Sunday—together. First, all three have a Nietzschean subtext. Stone has acknowledged the influence of Friedrich Nietzsche’s philosophy on his thinking. For Nietzsche, the primary motivation for human behavior is the will to power, and in all three films, it is the will to power that ultimately motivates the characters.

Take those accents: these were choices carefully considered, as Stone gives his Macedonians a Celtic twinge to reflect their place on the fringe of Greek culture, and provides Olympias’s quasi-Roman accent to reflect her foreign birth (although it is unfortunate that she ends up sounding like Bullwinkle’s Natasha). And as for the issue of sexuality, Stone’s account is historically well-grounded. The bottom line is simple: whatever its flaws, this is a serious attempt to engage the historical past.

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