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賮蹖賱賲 丕賵賱 賲賳貙 诏賮鬲诏賵賴丕蹖蹖 亘丕 賴卮鬲 賮蹖賱賲爻丕夭 亘夭乇诏 賲毓丕氐乇 丿乇亘丕乇賴鈥屰� 鬲噩乇亘賴鈥屰� 爻丕禺鬲 賳禺爻鬲蹖賳 賮蹖賱賲卮丕賳
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亘賴 賳賯賱 丕夭 丕賱賮
亘賴 賳賯賱 丕夭 丕賱賮
320 pages, Unknown Binding
First published November 6, 2000
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Displaying 1 - 24 of 24 reviews
February 3, 2021
If you are curious as to how a movie is made then this is a good starting point. Being a first time filmmaker I wanted to find something to read which can inspire me. The process of making movies, while being an extremely meaningful experience, can occasionally be both frustrating and alienating. It was therefore helpful for me to read about these 20 directors experience with movie making (although I found the Coen brothers interview most helpful).
July 24, 2020
I picked this book up several years ago from a used book store and just now got around to reading it. Stephen Lowenstein interviews 19 directors about their first film (and Oliver Stone who talks about his third film Savador). At the time, some of these were up and coming film makers, with the goal being a variety of individuals with different backgrounds. Lowenstein was moderately successful, in that he has some from writing backgrounds, others from acting backgrounds, and other who came up just wanting to direct. He's less successful in getting a very diverse group, as out of the twenty there's 18 dudes, 17 white people, and 7 British people.
My enjoyment of this book depended entirely on how interesting the person being interviewed was. Out of the twenty movies discussed, the only ones I'd seen were Clerks and Salvador. Several of the people interviewed directed tv movies before this, but the goal was to discuss feature films debuts. Here's the rundown of least interesting to most interesting, with a few thoughts mixed in:
Ken Loach, Stephen Frears, Mike Leigh - This three part back to back chapters really had me dreading the rest of the book. Three men who came up in similar manners, connected to each other, the BBC, and no particular interesting anecdotes between them. Of the three, I only really enjoy Stephen Frears films, so that might have contributed to my feelings.
Neil Jordan, Bertrand Tavernier, Oliver Stone, Tom Dicillo - Each of these had a couple of stories I hadn't heard, but were overall average chapters.
Barry Levinson - Some recognizable actors and a famous movie (Diner) led to some kept this one entertaining.
Gary Oldman, Steve Buscemi - These are interesting actors/people, they definitely brought a different perspective on how they handled other actors on sets.
Allison Anders - This contemporary of Jarmusch and Spike Lee had some a unique perspective and background prior to making a film.
Pedro Almodovar, The Coen Brothers - Two of the best film makers in the book, both took more time than several of the other directors to discuss their craft.
Kevin Smith - Always a great storyteller, I learned a lot about his movie here and laughed several times as well.
Ang Lee, Mira Nair, P.J. Hogan - Very interesting to read about their experiences making movies in China, India, and Australia.
Anthony Minghella - This was particularly fun because during the interview he talks a lot more about another movie he's shooting at the moment called The Talented Mr. Ripley
James Mangold - Great closing chapter to the book, wonderful stories about Jeffrey Katzenberg and Shelley Winters. Mangold's went on to big things since this book came out as well.
Mike Figgis - This was a great chapter with stories about Melanie Griffith, Tommy Lee Jones and Sting. I'll have a hard time watching Tommy Lee Jones in particular in a movie and not thinking about the hard time he gave this director.
Unless you're a diehard film fan, you can skip down to the Barry Levinson level without missing much, but I think even casual fans would get a lot of enjoyment starting at the Ang Lee level above. I know he wrote a second volume of this book, and after reading one I'd be fine picking up and trying another one. I'd never even heard of Mike Figgis before this, so who knows who'd be the most interesting interview in that volume.
My enjoyment of this book depended entirely on how interesting the person being interviewed was. Out of the twenty movies discussed, the only ones I'd seen were Clerks and Salvador. Several of the people interviewed directed tv movies before this, but the goal was to discuss feature films debuts. Here's the rundown of least interesting to most interesting, with a few thoughts mixed in:
Ken Loach, Stephen Frears, Mike Leigh - This three part back to back chapters really had me dreading the rest of the book. Three men who came up in similar manners, connected to each other, the BBC, and no particular interesting anecdotes between them. Of the three, I only really enjoy Stephen Frears films, so that might have contributed to my feelings.
Neil Jordan, Bertrand Tavernier, Oliver Stone, Tom Dicillo - Each of these had a couple of stories I hadn't heard, but were overall average chapters.
Barry Levinson - Some recognizable actors and a famous movie (Diner) led to some kept this one entertaining.
Gary Oldman, Steve Buscemi - These are interesting actors/people, they definitely brought a different perspective on how they handled other actors on sets.
Allison Anders - This contemporary of Jarmusch and Spike Lee had some a unique perspective and background prior to making a film.
Pedro Almodovar, The Coen Brothers - Two of the best film makers in the book, both took more time than several of the other directors to discuss their craft.
Kevin Smith - Always a great storyteller, I learned a lot about his movie here and laughed several times as well.
Ang Lee, Mira Nair, P.J. Hogan - Very interesting to read about their experiences making movies in China, India, and Australia.
Anthony Minghella - This was particularly fun because during the interview he talks a lot more about another movie he's shooting at the moment called The Talented Mr. Ripley
James Mangold - Great closing chapter to the book, wonderful stories about Jeffrey Katzenberg and Shelley Winters. Mangold's went on to big things since this book came out as well.
Mike Figgis - This was a great chapter with stories about Melanie Griffith, Tommy Lee Jones and Sting. I'll have a hard time watching Tommy Lee Jones in particular in a movie and not thinking about the hard time he gave this director.
Unless you're a diehard film fan, you can skip down to the Barry Levinson level without missing much, but I think even casual fans would get a lot of enjoyment starting at the Ang Lee level above. I know he wrote a second volume of this book, and after reading one I'd be fine picking up and trying another one. I'd never even heard of Mike Figgis before this, so who knows who'd be the most interesting interview in that volume.
July 8, 2021
蹖讴 讴鬲丕亘 丌賲賵夭卮蹖 亘丕 夭亘丕賳蹖 爻丕丿賴 賵 亘乇 倬丕蹖賴 鬲噩乇亘蹖丕鬲 卮禺氐蹖
June 11, 2009
What I struggle with in my vocation is pretty much the same for every one who is in the profession:
"...[many directors interviewed:] discovered the hard way that although everyone is paid to compliment you, no one is paid to help you make a living. Only you can do that."
"In many cases, the brick wall of indifference that confront directors in their early years was another them of the interview. As was is effect: the sheer frustration of not making your first film....despite this sense of doom, however, they went on....they want on because they could conceive of no alternative....what separates those who do it from those who talk about doing it isn't just talent or luck. It is the inability to do even conceive of doing anything else and the willingness to continue along your chosen path until you find a chink in the wall; until something finally gives you a chance."
"Directors must never coast on earlier successes fro therein lies artistic death. As Neil Jordan put it, every film requires a new pair of eyes. In other words, to live up to your reputation you have to forget you have one."
"...[many directors interviewed:] discovered the hard way that although everyone is paid to compliment you, no one is paid to help you make a living. Only you can do that."
"In many cases, the brick wall of indifference that confront directors in their early years was another them of the interview. As was is effect: the sheer frustration of not making your first film....despite this sense of doom, however, they went on....they want on because they could conceive of no alternative....what separates those who do it from those who talk about doing it isn't just talent or luck. It is the inability to do even conceive of doing anything else and the willingness to continue along your chosen path until you find a chink in the wall; until something finally gives you a chance."
"Directors must never coast on earlier successes fro therein lies artistic death. As Neil Jordan put it, every film requires a new pair of eyes. In other words, to live up to your reputation you have to forget you have one."
September 3, 2010
file under self-help, this is such an important book for the hesitating. interviews with twenty directors about the making of their first movie. I read 12/20, which is pretty good for me, I never finish nonfiction. there's more British dudes than I need in here, but overall I love the range. especially good are the interviews with Kevin Smith and Steve Buscemi, who seemed the most aware of how crazy and stupid it is to make a movie. you can do it any way, you can feel any way about it.
January 8, 2023
I really, really, REALLY want there to be a follow-up to this.
Such a great concept, and still a really interesting, informative book, but it comes off as another ouroboros of White Male achievement: white male writer interviews mostly white male directors in an industry dominated by white men, and said interviews will likely serve to inspire other white men to enter said white male-dominated industry.
Lowenstein explains in the introduction he reached out to *everyone*, but only gave himself six months to conduct interviews, and the directors included in his book are the ones who said yes and worked within his timeline.
Fine.
Look, I get it. If an industry is dominated by one type of person, the law of averages says you're gonna have a hard time finding a person who deviates from that type. But he really should have looked at the list of directors who agreed to be interviewed and said to himself, "this isn't right, this could be better", and make some exceptions to his six month rule. There are just so. many. white. men. He wouldn't have even needed to change the questions, he just needed to paint a more complete portrait of the industry, and the struggles therein.
He set that arbitrary boundary for himself. And he could have rectified this, but he chose not to. That's a problem.
Such a great concept, and still a really interesting, informative book, but it comes off as another ouroboros of White Male achievement: white male writer interviews mostly white male directors in an industry dominated by white men, and said interviews will likely serve to inspire other white men to enter said white male-dominated industry.
Lowenstein explains in the introduction he reached out to *everyone*, but only gave himself six months to conduct interviews, and the directors included in his book are the ones who said yes and worked within his timeline.
Fine.
Look, I get it. If an industry is dominated by one type of person, the law of averages says you're gonna have a hard time finding a person who deviates from that type. But he really should have looked at the list of directors who agreed to be interviewed and said to himself, "this isn't right, this could be better", and make some exceptions to his six month rule. There are just so. many. white. men. He wouldn't have even needed to change the questions, he just needed to paint a more complete portrait of the industry, and the struggles therein.
He set that arbitrary boundary for himself. And he could have rectified this, but he chose not to. That's a problem.
February 22, 2018
As a screenwriter I found this book to be really helpful as often the directors interviewed had things to say about the writing process as well. The book is almost two decades old but has a lot of interesting information about the film industry and an artists struggle to make it and keep their projects going. There were a few unfamiliar to me, but still had intriguing stories and insight or I would find a link to another movie or person and be surprised. Often I would finish one section and be excited to read the next one due to name recognition/my familiarity with their work. Or look at the front cover and see names I hadn't gotten to yet and get excited. The interviews were well organized, good questions. The pictures and bios were helpful. Did pretty good at providing a worldly mix of directors. Highly recommend for anybody who is interested in movies in any capacity. Can be a long read with 450+ pages but it was worth it.
September 17, 2019
Even better the second time!
February 8, 2025
Learned so much about film through this book, amazing read
March 19, 2017
Very insightful and interesting. Long as hell, but worth it if you love movies.
August 28, 2015
Movie buffs will delight in writer and director Lowenstein's collection of interviews with an eclectic selection of filmmakers who take readers behind the scenes of their first work. Film students will prick up their ears as one luminary after another reiterates how little he or she knew about moviemaking and the dumb luck involved in completing most debut efforts.
Anthony Minghella felt at the limit of his abilities "every single day" shooting TRULY, MADLY, DEEPLY. Steve Buscemi got sick internalizing his anxieties about TREES LOUNGE and Barry Levinson remembers the first cut of DINER as "devastating" and how and how Pauline Kael forced MGM to release the movie. On a lighter note, GAS, FOOD, LODGING's Allison Anders laments, "The hardest thing for women directors: you don't get laid as much!" Kevin Smith's account of overextending multiple credit cards to finance CLERKS is as amusing as Tom DiCillo's recollections of filming JOHNNY SUADE are harrowing.
Throughout the instructive is tempered by the gossipy. Mike Figgis recalls Tommy Lee Jones complaining that his trailer was a foot shorter then Melanie Griffith's on the low-budget STORMY MONDAY; James Mangold relates how Shelley Winters destroyed and rebuilt the confidence of her leading man in HEAVY. Pedro Almodovar, Ang Lee, Mike Leigh, Neil Jordan, Stephen Frears, the Cohen brothers and others weigh in with insights and humorous commentary on their travails and good fortune. Only Oliver Stone wiggles out, insisting on discussing SALVADOR (1986) instead of his first horror efforts
Anthony Minghella felt at the limit of his abilities "every single day" shooting TRULY, MADLY, DEEPLY. Steve Buscemi got sick internalizing his anxieties about TREES LOUNGE and Barry Levinson remembers the first cut of DINER as "devastating" and how and how Pauline Kael forced MGM to release the movie. On a lighter note, GAS, FOOD, LODGING's Allison Anders laments, "The hardest thing for women directors: you don't get laid as much!" Kevin Smith's account of overextending multiple credit cards to finance CLERKS is as amusing as Tom DiCillo's recollections of filming JOHNNY SUADE are harrowing.
Throughout the instructive is tempered by the gossipy. Mike Figgis recalls Tommy Lee Jones complaining that his trailer was a foot shorter then Melanie Griffith's on the low-budget STORMY MONDAY; James Mangold relates how Shelley Winters destroyed and rebuilt the confidence of her leading man in HEAVY. Pedro Almodovar, Ang Lee, Mike Leigh, Neil Jordan, Stephen Frears, the Cohen brothers and others weigh in with insights and humorous commentary on their travails and good fortune. Only Oliver Stone wiggles out, insisting on discussing SALVADOR (1986) instead of his first horror efforts
September 26, 2013
Very inspirational if you have any interest in film-making. 20 men and women (most of them well known) talk about their first film, all of them coming from very different places in life. Some were young and fresh out of film school, others had been working for some time in another field altogether. All of them had to struggle and use varying methods to drum up the money for their creation (The Coens did an in-person infomercial sales pitch to random associates to secure the cash for 'Blood Simple'). The clashing perspectives and occasional commonalities make for an entertaining and educational read.
June 29, 2012
It was fascinating to see the differences between directors both in their focus in working on the project and their differing styles. For example, Kevin Smith showed himself to be a very by-the-seat-of-his-pants director, while Ang Lee showed himself to be a very organized but organic filmmaker. The candor with which the directors shared their experiences was very enjoyable. Having read what a single-minded focus a director needs in order to accomplish his job, it was interesting to hear the directors' points of view about the craft.
August 14, 2007
Interviews range from vapid to great, but thankfully the book mostly teeters on the positive end of the spectrum and the ones that can be considered great make picking this book up a worthwhile act. It's perfect for the bathroom, though I found myself reading it even when I wasn't taking a shit, also a boon to the quality of this thing. Check it out if you're into movies or wanna make them or whatever.
August 26, 2009
Excellent coverage...actors as directors, foreign directors, british directors, pop directors (Oliver Stone, Ang Lee). Great stories, great questions. My only complaint is that I didn't like a lot of the people the guy chose to talk about, and a few of them have never worked again beyond their first film (or very little).
December 12, 2007
I keep picking this up and reading it compulsively, even though I no longer want to make a film (not as a director, anyway). Each story is a great tale of perseverence, which is something we all need in the artistic field, and even better, each story has a happy ending - the film got made!
December 10, 2008
i'm a sucker for these tales of director's early life, and have read several books like this. In fact, I think I already bought a copy of this one with a different cover a few years ago. My fantasy life as a film director gets tickled...
December 10, 2008
guess what? lots of these directors probably would not have made their first movies if they had known how hard it was going to be. so maybe i shouldn't have read this book...
July 29, 2016
Lots of good stories and probably very encouraging for aspiring filmmakers given the common theme of extreme difficulty surrounding the completion of these established directors' first films.
April 12, 2013
Quite good, though it's hard to judge the passages about films I haven't seen.
May 3, 2013
if you ever wanted to are actually are making a movie, these folks' stories are sure to inspire you and perhaps put your head in in the right space.
July 24, 2015
Fascinating interviews with independent directors who have made names for themselves.
July 16, 2016
Fun read with some of the great directors of the modern age. Sadly, many of the stories no longer apply to many new filmmakers today.
Want to read
November 18, 2008A Christmas present from mama a few years ago
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