The Studio by John Gregory Dunne

By John Gregory Dunne

March, 1998 First classic Books version - Retail ePub from OverDrive

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In 1967, John Gregory Dunne requested for limitless entry to the interior workings of 20th Century Fox. Miraculously, he bought it. For 12 months Dunne went in all places there has been to head and talked to all people worthy chatting with in the studio. He tracked each step of the production of images like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." the result's a piece of reportage that, thirty years later, should still be our such a lot minutely saw and hence such a lot uproariously humorous portrait of the movie business.

Whether he's recounting a showdown among Fox's studio head and artful shark-like brokers, observing a producer's female friend scouse borrow a silver plate from a cafe, or defensive his eyes opposed to the glare of a Hollywood most efficient the place the site visitors comprise a chimp in a white tie and tails, Dunne captures his topic in all its showmanship, savvy, vulgarity, and hype. no longer for the reason that F. Scott Fitzgerald and Nathanael West has someone performed Hollywood better.

"Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed alongside these corridors of strength is sure to assert that Dunne's impressionism earrings true."--Los Angeles occasions

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Hartmut Bitomsky y yo también habíamos intentado crear en torno nuestro una organización de masas para realizadores de películas didácticas, reclutando a esos estudiantes de arte a los que la universidad no conseguía sacar de la cama. Habíamos querido despertar su c o m p r o m i s o c o n una reivindicación como: hacer del cine una ciencia —politizar la ciencia. Antes del congreso sobre Vietnam, Rudi Dutschke" 1 había dicho que nos poníamos en contra de toda la opinión pública con nuestra intervención por la victoria del vietcong y que teníamos que ser conscientes de lo que eso implicaba.

Cuando una escena me quedaba muy corta y quería volver a alargarla, nunca encontraba el fragmento que había recortado y me las arreglaba insertando una imagen fija. C o m o recurrí a un laboratorio de copiado pequeño y barato, en los cortes de imagen en movimiento a imagen fija la película saltaba y las imágenes fijas se opacaban ligeramente. Para el editor Reinhold E. Thiel la dicción de los actores no era lo suficientemente estilizada, por lo que grabé todas las participaciones solamente con una voz masculina y una femenina.

Filmkritik llegó a ser en ocasiones, después de 1968, tan carCahiers du Cinéma en aquella época. Un texto navalesca como debía surgir del interés vivo de un autor y no debía derivar, bajo ningún punto de vista, de una utilidad: se trataba justamente de derribar aquella noción que sostenía que la industria cultural debía cumplir una función. Así fue como aparecieron trabajos contun- dentes como los de Helmut Färber, Uwe Nettelbeck, Gerhard Theuring, W i m Wenders, que no comentan películas sino que pueden servir, más bien, de modelos para el cine.

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