Это дневники Ролана Быкова 70-80-ых годов. Как и большинство режиссерских мемуаров того времени - это прежде всего история борьбы автора с системой Го...moreЭто дневники Ролана Быкова 70-80-ых годов. Как и большинство режиссерских мемуаров того времени - это прежде всего история борьбы автора с системой Госкино за право быть автором. Кроме того Быков очень просто и занимательно пишет, на глазах рождается замысел и сам фильм "Чучело". Он, судя по всему, до самого последнего момента оставался человеком довольно советским, поэтому его рефлексии относительно медленно погибающей системы очень драматичны. Что же касается педагогических разработок, которые тоже часть дневника, то, наверное, это просто не моя тема.(less)
I dislike the man and dislike most of his films (I honestly prefer stig Bjorkman's films, who is interviewing Trier here, much more), but this book re...moreI dislike the man and dislike most of his films (I honestly prefer stig Bjorkman's films, who is interviewing Trier here, much more), but this book represent his persona perfectly: filled with blatant lies and instant provocations it shows how Trier manipulated whole cinema world into liking him. The most interesting part though is his childhood. He was raised in a parenting system of a full freedom. As a child he got to decide himself when he goes to school, does he want to visit a dentist or what he is going to eat or to wear. His parents stripped themselves of all parenting rights (but not obligations). I think Trier became vivid example of what can be achieved with this system. (less)
The truth is that this whole concept of three acts and obligatory antagonist will make you unemployed screenwriter in 99,9% of cases. I know, I've wit...moreThe truth is that this whole concept of three acts and obligatory antagonist will make you unemployed screenwriter in 99,9% of cases. I know, I've witnessed it myself. In some ways the book is usefull, I think it gives pretty accurate analysis of turning points and different types of screenplays and genres, some other things maybe... But in general film bussiness has moved on from straight-forward "hero against something" concept, festival cinema and mass production for theatres and television alike. Anyone who wants to do this thing, have to turn something around, break some rule, that will be her vision. That's the whole point today even at the commercial field - films today are names (actors, director, book it was based on), not some mysterious event of storytelling. The other truth though is that when you will be talking with your producer he will talk with you in terms of this book and will judge your work according to this book, NOT WANTING your screenplay to follow it at the same time. That's a trick, but once you get used to it, pretty easy one. (less)
"I, Fellini" is a loud anthem to auteur cinema, nowdays endagered breed of films, which are made to reflect autheur inner world, not to entertain. Thr...more"I, Fellini" is a loud anthem to auteur cinema, nowdays endagered breed of films, which are made to reflect autheur inner world, not to entertain. Thrilling text, full of humor and bitter revelations rather tells a story of a shy, smalltown boy who managed somehow to express his imagination and subconscious on film, then an autobiography of one the best and well-known directors of XX century, five Oscar winner (!!! not bad for European director...) I love his films, especially early ones like "Lo sceicco bianco", "La Strada", "Le notti di Cabiria" or "I Vitelloni", and loved the book, because you actually see Fellini behind those words, he managed to stay himself in the text, not every director is capable of that. (less)
First time on Goodreads I looked through other reviews before giving mine, because I actually don't know if like it or not and basically I feel the sa...moreFirst time on Goodreads I looked through other reviews before giving mine, because I actually don't know if like it or not and basically I feel the same about Scrosese movies themselves. I learned a lot from Taxi Driver or Raging Bull or Mean Streets, but I never enjoyed them as a viewer. His later more mainstream Holywood ones like Casino, The Age of Innocence or Aviator are not covered here - the book was published in late 80s and covers Scorsese films up to Goodfellas. Goodreads reviews are 4-5 star positive, but for me the book was very meager. The serie is always awesome when director invites you into his cook-room and shows all the in and outs, how the film went from intial conception to the final realization and how director's world reflected in all the stages of creation. In this case we rather see brief memoirs of main events in relationships with studios, screenwriters and producers. The most interesting and usefull part is a depiction of Scorsese work with actors mainly De Niro but not only. That's what kept my interest through the whole book. (less)
Два главных отличия от большинства кинематографических мемуаров: а) Соловьев себя не жалеет(никакого "все в говне, я на белом коне"): работы не было, л...moreДва главных отличия от большинства кинематографических мемуаров: а) Соловьев себя не жалеет(никакого "все в говне, я на белом коне"): работы не было, лежал в кровати, пукал, я-конформист, я трусил, был пьяный и т.д. б) Соловьев умеет писать, у него действительно очень хороший литературный язык.
А общий замысел такой - рассказать свою жизнь вообще и в кино в частности через подробные портреты главных людей, с которыми сводила жизнь - Васильева, Ромм, Михалков, Тарковский, Шпаликов, Борисов, Шварц и т.д. Интересно.(less)
For a long time I've been collecting books from "Directors on Directors" serie and (don't take this as a commercial ad) Abebooks was a great find for...moreFor a long time I've been collecting books from "Directors on Directors" serie and (don't take this as a commercial ad) Abebooks was a great find for me. Even being in states I've found only Lynch on Lynch,when on Abereads I ordered dozen of books from the serie for $1 each... OMG!!! Three of them already arrived (in 2 weeks all the way across Atlantic ocean and Europe): Gilliam on Gilliam, Kislewski on Kislewski and Scorsese on Scorsese.
I absolutely love early Gilliam films. Obviously Holy Grail, but especially Brazil, Fisher King and Munchausen. Time Bandits and Twelve Monkeys are good films too. Everything Terry was doing after that is not for me, but the book was made in 1999, so it doesn't even cover everything after. Gilliam looks here as a funny, charming man. Main theme is how he managed to smuggle autheur cinema into Holywood major studios and actually succeed with it. The book doesn't cover any of his personal life, doesn't open a lot of professional secrets, but rather tells a story of production of different Gilliam films, one by one. Interesting for me.(less)
Well-known film crtitic Dmitry Salynsky took an effort to compile all important material on Tarkovsky's "Solaris". This includes original screenplay,...moreWell-known film crtitic Dmitry Salynsky took an effort to compile all important material on Tarkovsky's "Solaris". This includes original screenplay, production screenplay, editing notes, all pitching materials , verbatims of pre- and post-production discussions on the studio and in Goskino, memoirs of different people who were involved in the process. Breath-taking book for the fans (nerds) like myself, not sure if anyone else besides this target group would be interested.(less)
Second book by my father. Written in specific genre somewhere between private diary, public blog and personal archive excerpts. A storm of thoughts an...moreSecond book by my father. Written in specific genre somewhere between private diary, public blog and personal archive excerpts. A storm of thoughts and images that comes into mind before we fall asleep. I enjoyed this book a lot because I see father on every single page - how he doesn't lie and has a talent to describe his inner world in a way that is interesting for other people. His first book was written in the same way, but it was 6 years ago and "Птичий язык" shows the direction where interests of the author has drifted - from estetic and philosophical concepts to political issues and conflict between Orthodox Church and liberal crowd. The book is closing with a script, which he has no hope to stage, but a very cool one, that shows Moscow as some kind of mythological space where private lifes of very strange people are interconnecting in a very tricky way. 5 stars, I can't give this book anything else, you understand :)(less)
I've been collecting books from "Directors on directors" serie for about 10 years now. This one is not exactly from that serie, but made more or less...moreI've been collecting books from "Directors on directors" serie for about 10 years now. This one is not exactly from that serie, but made more or less with the same concept. Alexey German, easily the best living Russian/Soviet filmmaker tells about his films and life to Anton Dolin, young successfull critic. I didn't like that this well-established genre eroded in this book - German's telling is being interrupt all the time by Dolin's essays on films. Essays themselves are not that bad, although they don't bring anything new or special and mostly state something obvious, but the flow of German's thought and speech is so so more interesting... I believe Dolin, if he's a writer should have been felt it and diminish his ego... I just didn't have enough of it from German. (less)
What's an usual order for this? Famous Lucino Visconti film with Alain Delon, Burt Lancaster and Claudia Cardinale and then di Lampedusa's book? Or th...moreWhat's an usual order for this? Famous Lucino Visconti film with Alain Delon, Burt Lancaster and Claudia Cardinale and then di Lampedusa's book? Or the book comes first? For me it was like that: I watched the film maybe 15 years ago and don't remember anything. Now after I've read the book I'm gonna re-watch the film.
Giuseppe Tomasi di Lampedusa wasn't a professional writer, he was an aristocrat who died and left this novel at his desk.
Prince Don Fabrizio Salina is losing power, money and influence. XIX century political turnmoils in Italy are brining to the avanscene whole new generation of people - practical, cunning, unprincipled; and these proud, noble and imperious aristicrats are going away. This is also a story of Salina's nephew, played by Delon in the film, and Salina's daughters and his priest, Father Pirrone, Sancha Pansa-like character.
This "decling family" story (I've read dozens books with such structure, Budenbrocks first pops up in mind) is somewhat fun at some moments, especially when we see inner world of Salina, but excessive in landscape details (those are not very original) and maybe a bit scrappy sometimes.(less)
Misharin wrote "Zerkalo" ("MIrror") with Tarkovsky. As mush as that film expresses personal experience and feeling and always has been treated as Tark...moreMisharin wrote "Zerkalo" ("MIrror") with Tarkovsky. As mush as that film expresses personal experience and feeling and always has been treated as Tarkovsky's intimate confession, the script was written by two people and called "White, white day" (it is available in English translation)
This book by Misharin is also called "White, white day" and it was written 30 years after the "Mirror". He wrote his personal version of "White, white day", concerning his own family, especially his mother (as much as "Mirror" is playing with figure of Tarkovsky's mother). Misharin mixed eras and time slots and put his own life through them, not precisely the same way as they did with Tarkovsky, more in literary way, but still concept stays the same. He died after he wrote this book, seems like both works were the works of his life.(less)
Nikita Mikhalkov, film director, actor (Oscar, Cannes, Venice winner) represents smaller part of Russian media establishment - patriotic, advocative t...moreNikita Mikhalkov, film director, actor (Oscar, Cannes, Venice winner) represents smaller part of Russian media establishment - patriotic, advocative to a stronger state and current regime. This is probably only my judgement but historically bigger part of our art society and, generally, educated people tend to lean more to Western views. Because of such position of him Mikhalkov is always in conflict with his colleagues but gets well with prime-ministers and presidents.
The book is a Mikhalkov's dictionary, from A to Z all the dates, definitions, events, people and words important to him explained with excerpts from his interviews from 1968 up untill nowdays. Wnen he talks about filmmaking, actor work, cinema - the book is very entertaining. And boring in its political part. Either way whoever is interested in this person won't get more information anywhere.
Замысел: составить своего рода глоссарий различных понятий, слов, имен, обстоятельств, дат, событий, произведений искусства и продемонстрировать, монтируя в хронологическом порядке куски из различных интервью данных Н. Михалковым за 40 лет художественного творчества, что на протяжении этих десятилетий отношение Н. Михалкова к описываемым понятиям, словам, именам, обстоятельствам, датам, событиям, произведениям искусства не менялось.
Результат: представьте человека, который на протяжении десятилетий (или как воплощение в данном конкретном материальном носителе - на протяжении десятков страниц) снова и снова повторяет нечто, что в принципе не требует обязательного произнесения. Например, "мне наплевать на фестивальные призы". Или "мне ничего не нужно от Союза Кинематографистов я только за свои личные деньги кормлю ветеранов". Говорение одного и того же, что можно и не говорить, а может быть и совсем не стоит говорить, умноженное многократно на самое себя в результате производит обратный эффект и превращает книгу в сеанс саморазоблачения. Как издательство "Сибирский Цирюльник" этот эффект пропустило? Но читать увлекательно.(less)
I love all D.Lynch movies. Usually he doesn't talk that much about them - in all his interviews he tries to stay as vague as possible. You rarely or n...moreI love all D.Lynch movies. Usually he doesn't talk that much about them - in all his interviews he tries to stay as vague as possible. You rarely or never find an answer why he casted this or that actor, where certain episode went or why smth. is edited such and such. Usual D.Lynch answer for all that would be smth like: "Whole thing just came to me and I don't know why". One day he had a lecture at my film school and it was two hours of that - nothing. This book made no exception. I bought it not only because I love D.Lynch's films but I also collect whole Directors on Directors serie which were partly translated into russian at some point (Bergman, Fellini, Antonioni, Viskonti and some others). Instead of filmmaking lecture D.Lynch provides you with Dummy's guide on how to make movies for majors and stay an artist. He is himself one of few who made it, he can advice on that matter and I thankfull to him for that.(less)
There are two words for "russian" in Russian: "rossijsky" and "russky". First one relates to the state, to all people who live in the country. Second...moreThere are two words for "russian" in Russian: "rossijsky" and "russky". First one relates to the state, to all people who live in the country. Second one describes something that is ethnic russian. For example, jewish person who lives in Russia and is russian citizen, she is "rossijsky grazhdanin" (means russian citizen), there is no russky grazhdanin. But Pushkin, despite of his african origin, is a "russky pisatel" (russian writer), because he speaks and writes in russian as a national language (not Swahili for example). Vasiliy Shukshin was Russky. He was one of the so-called "village writers", which is completely made-up term, that joins several (very different) great post-WWII writers who dedicated their work to ordinary ethnic russian people, mostly living outside big cities, but to urban people as well (Belov, Rasputin, Nosov, Abramov and others). Soviet state didn't like them that much, although acknowlendged their existence and published their books (all people who lived in USSR had to be soviet in a first place and only then ethnic russians, estonians, ukranians etc.) Shukshin started as a filmmaker, he attended same class as Tarkovsky for 5 years. His films were very very succesfull in Russia, critics and ordinary people both loved them. Same thing with his books - it was impossible to find his short stories in soviet book stores - all prints were being immideately bought out. At the same time his fame on the west was rather minor if there was some. He died in his forties (in 1974) while being filmed as an actor (another great part of his personality), but still loved and remembered here. This book is a carefull and respectfull biography, which rather describes Shukshin's way as a writer then as a person or as a filmmaker.(less)
After about several hundred books about Tarkovsky' spirituality, humanism, poetry and loftiness of ideals someone decided to tell the world that he al...moreAfter about several hundred books about Tarkovsky' spirituality, humanism, poetry and loftiness of ideals someone decided to tell the world that he also happened to visit bathroom, sleep with women, like money and suffer from hangover... BIG SURPRISE!!!(less)
- This book is about Andrey Tarkovsky, famous russian film director and written by his course mate, Alexander Gordon, also film director not even clos...more- This book is about Andrey Tarkovsky, famous russian film director and written by his course mate, Alexander Gordon, also film director not even closely succesfull as Tarkovsky, husband of Tarkovsky' sister
- few words about "course mate" thing, which slightely connects me to the story: Diring USSR era there were practically only one film school here called VGIK for all the professions in the film industry. This way of things pretty much stays the same right now, with the exception that there are tons of other new private film schools, but their value on the job market equals zero.
- Inside VGIK (that film school) there were (and is) system of "masterskaya" - masterships or maybe workshops, don't know right translation. Basically it looked like that: state appointed one, old venerable film director, loyal to the system of course, he picks 15-20 people and teaches them his arts, after graduation (usually only half or less gets to this part) gets permanent job on one of the main studios and gets production. Some of those venerable mentors were good, some awfull, but the best one was Mikhail Romm. Not so great as a film director, but greatest teacher. Literally every good Russian director of that era (50-70) was his student, Tarkovsky included (I'm deemed as Romm's "grandson", because we were teached by a group of his students).
- This book is written by a man who attended same "masterskaya" as Tarkovsky, filmed several shorts with him as a co-director and married his sister.
-Book doesn't claim to be a fully documented biography, it's his view of the person, his interconnections with him.
-I practically never read a book as badly written as this one. He cannot write a paragraph with simple words, only humane. Lack of details where you want them, excessive details on his, Gordon's "poetic" view of the events, which is of course not even slightely poetic.
- as the result he fails at his declared goal - to tell about his work and relationships with Tarkovsky, because of his obvious writer ambition (first book, he is in the late 70s), but his writer ambition cannot succeed cause he sucks as a writer.(less)