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Laurent Tirard - Moviemakers Master Class: Private Lessons from the Worlds Foremost Directors

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Laurent Tirard Moviemakers Master Class: Private Lessons from the Worlds Foremost Directors
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From Scorsese and Lynch to Wenders and Godard, interviews with twenty of the worlds greatest directors on how they make films--and why


Each great filmmaker has a secret method to his moviemaking--but each of them is different. In Moviemaker Master Class, Laurent Tirard talks to twenty of todays most important filmmakers to get to the core of each directors approach to film, exploring the filmmakers vision as well as his technique, while allowing each man to speak in his own voice.


Martin Scorsese likes setting up each shot very precisely ahead of time--so that he has the opportunity to change it all if he sees the need. Lars Von Trier, on the other hand, refuses to think about a shot until the actual moment of filming. And Bernardo Bertolucci tries to dream his shots the night before; if that doesnt work, he roams the set alone with a viewfinder, imagining the scene before the actors and crew join him. In these interviews--which originally appeared in the French film magazine Studio and are being published here in English for the first time--enhanced by exceptional photographs of the directors at work, Laurent Tirard has succeeded in finding out what makes each filmmaker--and his films--so extraordinary, shedding light on both the process and the people behind great moviemaking.


Among the other filmmakers included are Woody Allen, Tim Burton, Joel and Ethan Coen, and John Woo.

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Table of Contents The author wishes to thank Studio magazine - photo 1
Table of Contents

The author wishes to thank:

Studio magazine, particularly Jean-Pierre Lavoignat, Christophe DYvoire, Pascaline Baudoin, Benjamin Plet, and Franoise DInca;

all the PR people who made the interviews possible: Michle Abitbol, Denise Breton, Michel Burnstein, Claude Davy, Franoise Dessaigne, Marquita Doassans, Franois Frey, Franois Guerar, Laurence Hartman-Churlaud, Vanessa Jerrom, Jerme Jouneaux, Anne Lara, Marie-Christine Malbert, Marie Queysane, Robert Schlokoff, and Jean-Pierre Vincent;

the Cinemathque de Nice (which arranged the interviews with Claude Sautet and Sydney Pollack);

the Locarno Film Festival (which arranged the interview with Bernardo Bertolucci);

Ian Burley, who translated all the French interviews into English;

all the filmmakers assistants who handled my requests for legal paperwork;

and, finally, Jerry Rudes and the Fifi Oscard Agency.
Laurent Tirard
Laurent Tirard was born in 1967. He studied filmmaking at New York University, from which he graduated with honors in 1989. After a year as a script reader for the Warner Bros. studio in Los Angeles, he became a journalist for the French film magazine Studio . There, over the course of seven years, he screened and reviewed more than a hundred films per year. He also had the opportunity to interview all the great directors of the day, including Martin Scorsese, Jean-Luc Godard, John Woo, Steven Spielberg, Woody Allen, and many others, engaging them in lengthy discussions on the most practical aspects of filmmaking for a series called Leons de Cinma. For the last four years, he has put all his lessons into practice, first as a screenwriter on French features and TV movies, then as the director of two short films, Reliable Sources and Tomorrow Is Another Day . The first received the 1999 Panavision Award at the Avignon/New York Film Festival; the second was selected for the 2000 Telluride Film Festival. Laurent Tirard is currently working on his first feature film as a director. He lives in Paris with his wife and son.
Grateful acknowledgment is made for the use of the following: Photos of Woody Allen, Bernardo Bertolucci, Joel and Ethan Coen, David Lynch, Claude Sautet, Wim Wenders: Christophe dYvoire/ Studio magazine. Photo of Pedro Almodvar: Jean-Marie Leroy, El Deseo. Photos of John Boorman and Martin Scorsese: Jean-Franois Robert, Studio magazine. Photos of Tim Burton and Wong Kar-wai: Luc Roux /Studio magazine. Photo of David Cronenberg: Roberto Frankenberg, Studio magazine. Photo of Jean-Luc Godard: Philippe Doumic, Unifrance/ Les Cahiers du Cinma. Photo of Jean-Pierre Jeunet: Eric Caro. Photo of Takeshi Kitano: copyright 2000 Little Brother, Inc., photo by Suzanne Honover. Photos of Emir Kusturica and John Woo: Thierry Valletoux / Studio magazine. Photo of Sydney Pollack: David James, courtesy of Sydney Pollack. Photo of Oliver Stone: Michel Sedan, courtesy of 0. Medias. Photo of Lars Von Trier: Sandrine Expilly, Studio magazine
John Boorman
Sydney Pollack
Claude Sautet

The title of this section might make the reader think that these three directors have a conventional approach to filmmaking. Nothing could be more untrue. However, with the exception of Jean-Luc Godard (whose interview appears in the last section), these are the only directors in the book who started their careers before the cultural upheavals of the late sixties, and thus probably are the ones who started out in the most conservative environment. For them, breaking out of the mold of tradition and finding a personal voice were certainly harder tasks than they were for directors of the generations that followed. These directors became auteurs at a time when that notion didnt yet exist.
b 1933 London England Though I had never met John Boorman before - photo 2
b. 1933, London, England
Though I had never met John Boorman before interviewing him, actors from his films whom I had interviewed all agreed that he was the nicest man theyd ever worked with. He is, indeed, someone who immediately makes you feel comfortable. Boorman seems particularly tranquil and looks as though he could deal with any situation, however catastrophic, with a shrug and a smile. We met at the time that The General was being released, in 1998. I tried to compliment him on the film but did it so clumsily that I think he got the wrong idea. I said if I hadnt seen his name on the credits, I would have thought the film had been directed by a twenty-year-old. He seemed perplexed by that remark, but what I had meant was that I found it amazing that after all these years of directing films, he could still exhibit the freshness to make one so modern.
Starting as a director in 1965, John Boorman has always triedsometimes without success, it is trueto explore all forms of cinema, from the experimental genre film Point Blank to the revisionist operatic epic Excalibur. Thanks to our conversation, I now know what it was that made his version of the Arthurian legend somehow more ambiguous and more exciting than other cinematic interpretations.
We talked for an hour. Boorman visibly enjoyed getting down to explaining the nitty-gritty of his job, but at the end of the interview, he suddenly frowned and said, Wait a minute. You just stole all my little secrets here! Then he shrugged and smiled, wishing me luck.

Picture 3 Master Class with John Boorman

I learned filmmaking in a very organic way. I started as a film critic when I was eighteen, writing reviews for a newspaper. Then I got a job as a trainee film editor, then as an editor, then I began to direct documentaries for the BBC. After a while, I became dissatisfied with documentaries, and I began to dramatize them more and more, until I started doing dramas for TV and, eventually, for the cinema. So it was really organic and natural, and what helped in all the documentaries that I did was really the fact of shooting so much film, and the familiarity that this created with the process of filming. For me, technique became something that I never worried about. It was there even before I shot my first film. I never had to struggle with it. I know most directors now go to film schools, but Im not a big believer in that system. I think filmmaking is essentially a practical undertaking, and I think that the apprenticeship system has always been the most effective. I mean, theory is interesting, but it is only interesting when its related to practical work. And my experience with film students is that theyre quite impractical when it comes to the pragmatic aspect of filmmaking. I have, however, helped young directors make their first movies. I produced Neil Jordans first film, for instance, which in effect was a tutoring operation.
When youre preparing a film with a young director, I find the most important thing to teach him, which often even experienced directors fail to do, is to honestly time the script. Now, most people start out making a picture which is too long. And in consequence, if you end up with a first cut that is three hours long, and youve got to get down to two hours, it means that one-third of the time that you spent shooting the film was wasted, because you spent that time on scenes that wont eventually get in the picture. Of course, its always importantto have a little extra, a few scenes that you can cut into or eliminate if they dont work. But in most cases, you lie to yourself. Youre not honest about how long its going to be because you cant bear to go back to the script and make sacrifices. To do this, however, the best method is to work it out when youre scheduling the shoot. That scene needs fourteen shots? OK, thats two days. Is that scene really worth two days of shooting? If the answer is no, then what you have to do is rewrite the scene or cut it out. This way, you look at the resources, you look at the money you have to spend on the film, and you look at the time and effort that are going to be devoted to each scene, and you can judge whether it has that value or not.
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