Index

A

About John Ford, 139

“Ace in the Hole,” 163, 169

Ackerman, Chantal, 290

Acting

American School of, 113

European School of, 114–119

inside out approach to, 113

outside in approach to, 112

philosophies of, 111–112

Actors, 104–119

casting, 105–108

and character arc, 108–110

directing of

by Billy Wilder, 169–171

by Catherine Breillat, 296–297

by Elia Kazan, 198–200

by Ernst Lubitsch, 183–184

by Francois Truffaut, 212–213

by George Stevens, 154–156

by John Ford, 141–143

by Lukas Moodysson, 284–285

by Margarethe Von Trotta, 270–272

by Mary Harron, 312–313

by Roman Polanski, 227–229

by Stanley Kubrick, 242–243

by Steven Spielberg, 254–258

as directors, 110–111

overview, 105

Adler, Stella, 113, 115

Akinshina, Oksana, 279

Aldrich, Robert, 21, 80

“Alexander,” 82

“Alexander Nevsky,” 123, 124, 125, 128, 129, 130, 131, 132, 133, 193

“Alice Adams,” 149, 150, 158, 161

“All About Eve,” 21, 56, 88

“All About My Mother,” 65, 66

Allen, Woody, 4, 5, 58, 59, 60, 61, 63, 67, 110, 301

“All that Jazz,” 58

Almodovar, Pedro, 36, 65, 66, 70, 94, 276, 296

Almroth, Björn, 281

Alternative Scriptwriting, 248

Altman, Robert, 58, 92, 301, 319

Alton, John, 95

“America, America,” 46, 190, 191, 192, 194, 196–197, 198, 199

“American Beauty,” 7, 57

The American Cinema, 6, 55, 169, 233

“American Idol,” 301

“American Psycho,” 301, 302, 303, 304, 305, 307–310, 312, 313, 314, 322

American School of acting, 113

“Amistad,” 247

An American Tragedy, 123, 151

“Anatomy of Hell,” 289, 290, 291, 292, 294–295, 296, 297, 321

Anders, Alison, 302, 303

Anderson, Lindsay, 6, 135, 139

Anderson, Michael, 101

Anderson, Paul, 58, 301

“Angel,” 175

Anna Karenina, 79

“Annie Hall,” 60, 61

“Antoine and Colette,” 205, 207

“The Apartment,” 163, 164, 165–166, 168, 169, 170, 172, 173, 323

“Apocalypse Now,” 7, 58, 59, 97

Arcand, Deny, 36, 65, 66, 67, 68, 69, 70

Ardant, Fannie, 212

Aronofsky, Darren, 79

“The Arrangement,” 190, 198

Artaud, Antonin, 114

Art direction, 95–96

Arthur, Jean, 150, 154, 169

“Artificial Intelligence: AI,” 248, 254, 334

“The Ascent of Voice,” 303

“Ashes and Diamonds,” 64

“Attack,” 21, 80

Attenborough, Richard, 254

Audiard, Jacques, 276

August, Billie, 64

Aumont, Jean-Pierre, 208

Austen, Jane, 8

“Avanti,” 163

Axelrod, George, 41, 42

B

“Back to the Future,” 25, 98

“Bad Boys,” 7

Balasko, Josiane, 290

Bale, Christian, 307, 312, 322

“The Barbarian Invasions,” 36, 67, 68

Bardot, Brigitte, 290

“Barry Lyndon,” 92, 233, 236, 239, 240, 241, 242, 243, 244, 326

Barrymore, Drew, 254

“Bastard out of Carolina,” 7, 290

“The Battle of Algiers,” 57

Bay, Michael, 7, 37, 38, 49

Baye, Natalie, 209, 212

Bazin, Andre, 5

The Beatles, 92

Beatty, Warren, 110, 189, 191

“Beau Travail,” 290

Becker, Wolfgang, 83, 84

“Bed and Board,” 205, 207, 211

“Belle de Jour,” 57

Belvaux, Luc, 276

Bening, Annette, 99

Benny, Jack, 176, 183, 275

Beresford, Bruce, 35

Bergman, Ingmar, 4, 59, 60, 61, 219, 276

Bernstein, Leonard, 74

Bertolucci, Bernardo, 64, 335

“Beseiged,” 64

Besson, Luc, 6, 7, 248

“Best Years of our Lives,” 51, 55

Bickle, Travis, 62

“The Bicycle Thief,” 15

Bigelow, Kathryn, 290

Bisset, Jacqueline, 208

“Bitter Moon,” 219

Blackmer, Sidney, 221

Bluteau, Lothaire, 306, 312

Boetticher, Budd, 136

Bogart, Humphrey, 5

Bogucharsky, Artyom, 279

“The Bonfire of the Vanities,” 91

“Boogie Nights,” 58, 301

Boorman, John, 29, 30, 80

“Bound,” 82

“The Bourne Identity,” 21

Boyle, Danny, 97, 276

Brackett, Charles, 163

Bråding, Sanna, 281

Branagh, Kenneth, 74

Brando, Marlon, 109, 110, 171, 189, 190, 191, 198, 199, 200, 322

Brass, Tinto, 290

“Braveheart,” 110

“Breaker Morant,” 35

Breillat, Catherine, 275, 288–299, 302, 321, 322

“Anatomy of Hell,” 294–295

directing actors, 296–297

directing camera, 297–299

“Fat Girl,” 293

overview, 289–292

“Romance,” 292–293

“Sex Is Comedy,” 294

text interpretation, 295–296

Bresson, Robert, 61

Brest, Martin, 80

“The Bride Wore Black,” 205

“The Bridge Over the River Kwai,” 80

“Brief Crossing,” 289

“Bring Me the Head of Alfredo Garcia,” 25

“Broadcast News,” 301

“Broadway Danny Rose,” 59–60

Brockovich, Erin, 334

Brody, Adrien, 224, 228

Brook, Peter, 114

Brooks, James, 301

Brooks, Mel, 79, 175

Bruckheimer, Jerry, 5

Bunuel, Luis, 57, 63, 177, 184

Burgess, 239

“The Burglar,” 110, 290

C

“Cabaret,” 39

Cacoyannis, Michael, 22

Cahiers du Cinema, 5

Caine, Michael, 112

“Camelot,” 29

Camera, 86–102, see also editing

art direction, 95–96

directing of

by Billy Wilder, 171–173

by Catherine Breillat, 297–299

by Elia Kazan, 200–202

by Ernst Lubitsch, 184–186

by Francois Truffaut, 213–216

by George Stevens, 156–161

by John Ford, 143–147

by Lukas Moodysson, 285–287

by Margarethe Von Trotta, 272–273

by Mary Harron, 313–315

by Roman Polanski, 229–231

by Stanley Kubrick, 243–245

lighting, 94–95

overview, 86–87

placement of, 89–94

height, 90–91

movement from fixed point, 92–93

movement from movement, 93–94

objectivity, 89–90

overview, 89, 91–92

proximity, 89

subjective camera placement, 90

shot, 87–89

sound, 96–97

Capra, Frank, 5, 21, 56, 149, 178

Carey, Harry, Jr., 142

Carradine, John, 142

“Casablanca,” 5

Casar, Amira, 294, 297

“Casino,” 62

Cassavetes, John, 6, 110, 181, 189, 221, 228

Casting, 105–108

“The Celebration,” 64, 92

“The Centrality of Metagenres,” 303

Chabrol, Claude, 5, 38, 213, 317, 318

Chandler, Raymond, 163

“Chaos,” 64, 81, 290

Chaplin, Charlie, 6, 10, 55, 56, 57, 59, 110, 123, 175

“Character,” 64

Character arc, 108–110

“Charlie’s Angels,” 7

Chekhov, Anton, 111

Chereau, Patrice, 26

Cherkassov, Nikolai, 126, 127, 128

“Chicago,” 39

“Chinatown,” 219, 220, 221–222, 225, 226, 227, 230

“The Cider House Rules,” 283

Cimino, Michael, 58

“Citizen Kane,” 51, 243

“City of God,” 82, 83

“City of Lost Children,” 96

Clarity, 98–99

Cliff, Montgomery, 151

“A Clockwork Orange,” 233, 234, 239, 242

Clooney, George, 101, 254

“Close Encounters of the Third Kind,” 205, 254

“Closer,” 79

“Close to Eden,” 64

“Clueless,” 75, 289, 302, 303

Cobb, Humphrey, 238

Cobb, Lee J., 191, 192

Coburn, Charles, 150

Coen brothers, 46, 84, 85, 100, 101, 102, 334, 336

“Cold Mountain,” 97

Colin, Grégoire, 294

“Collateral,” 47–48, 95, 254, 319

Columbus, Chris, 28

“Come and See,” 64, 258

Competence of directors, 24–39

Antoine Fuqua (“King Arthur”) case study, 29–32

directors and competence, 27–28

overview, 24–25

Simon Wincer (“The Lighthorsemen”) case study, 32–39

what audience wants, 25–27

Condon, Richard, 41

“Confidentially Yours,” 205, 212

Conflict, 101

Connery, Sean, 254

“Conspiracy Theory,” 28

Contemporary great directors

in America, 57–63

outside America, 63–70

Continuity, 97

“The Conversation,” 97

Cook, Tommy, 193

Cooper, Pat, 302

Coppola, Francis Ford, 6, 7, 26, 58, 59, 63, 97, 328

Coppola, Sofia, 333

Cortese, Valentine, 208

Cosmatos, George, 76

“Coup de Grace,” 261

Crialese, Emmanuele, 276

“Crimes and Misdemeanors,” 59, 60

Cronin, P., 149

“Crouching Tiger, Hidden Dragon,” 8, 82

“The Crucible,” 7

Cruise, Tom, 237, 242, 243, 326

Cuaron, Alfonso, 75

Cukor, George, 177

“Cul de Sac,” 219, 231

The Culture of Narcissism, 301

Curtis, Tony, 170

Curtiz, Michael, 5

D

Dafoe, Willem, 308, 312

Dahlström, Alexandra, 277

Dancyger, Ken, 248

Dash, Julie, 289

“Daughters of the Dust,” 289

Davalos, Richard, 192

Davis, Andrew, 75

“Day for Night,” 205, 206, 208–209, 210, 211, 212, 215

“The Day of the Jackal,” 25, 51, 52, 79, 98

“Dead Poet’s Society,” 57

Dean, James, 153, 191, 199, 322

“Death and the Maiden,” 219

De Baecque, Antoine, 212

“The Decline of the American Empire,” 66, 67

“Deconstructing Harry,” 60

“Deep End,” 231

“The Deer Hunter,” 58

“Delicatessen,” 96

Demme, Jonathan, 27, 43, 45, 318, 319

Deneuve, Catherine, 212

De Niro, Robert, 62, 110, 198

Denis, Claire, 290

De Palma, Brian, 91, 118

Depp, Johnny, 109

De Rienzo, Libero, 293

De Sica, Vittoria, 15, 63

“Design for Living,” 175

Devine, Andy, 142

Diamond, I.A.L., 163

Dickens, Charles, 75

Dietrich, Marlene, 163, 183

Differences among directors, 4–5

Directing

good directing, 40–53

adding value to project, 49–52

Michael Mann’s “Collateral” case study, 47–48

overview, 40–41

great directing, 55–70

contemporary great directors in America, 57–63

contemporary great directors outside America, 63–70

overview, 55–56

voice, 56–57

Directing Actors, 115

Directors

actors as, 110–111

contemporary great directors

in America, 57–63

outside America, 63–70

differences among, 4–5

importance of, 5–6

what they do, 3–4

Director’s idea, 12–23, 52–53, 330–336

choosing, 335–336

how works, 41–46

moving toward interpretation, 333–335

overview, 12–15, 330–331

strategy for reading script, 331–333

unity of productions, 15–23

“Doctor Zhivago,” 100, 193

Doinel, Antoine, 205, 206, 207, 212

Donen, Stanley, 55, 177, 319

Donner, Richard, 28

D’Onofrio, Vincent, 237

Dorff, Stephen, 306, 312

Dorleac, Francoise, 212

“Do the Right Thing,” 7, 58

“Double Indemnity,” 91, 163, 166, 168, 170, 173, 323

Douglas, Kirk, 169, 198, 238, 239

Douglas, Melvyn, 176, 183

Dovshenko, Alexander, 123, 147

Downs, Cathy, 137

Dramatic emphasis, 99

“The Dreamers,” 335

“The Dreamlife of Angels,” 64

Dreiser, Theodore, 123, 151

Dreyer, Carl, 57, 285

Dreyfuss, Richard, 249, 254

“Dr. Jekyll and Mr. Hyde,” 90, 93

“Dr. Strangelove,” 37, 233, 234, 239, 242, 320

Ducey, Caroline, 292, 297

“Duel,” 248, 254, 256

Dullea, Keir, 236, 242

Dunaway, Faye, 222

E

“Early Spring,” 63

“East of Eden,” 76–78, 190, 191, 192, 194, 196, 197, 201, 322

Eastwood, Clint, 4, 7, 58, 110

“Eat Drink Man Woman,” 8

Editing, 97–102

clarity, 98–99

conflict, 101

continuity, 97

dramatic emphasis, 99

emotional guidelines, 100

main character, 101

new ideas, 99

overview, 97

parallel action, 99–100

story form, 101–102

tone, 100–101

Edwards, Blake, 4

“8 1/2,” 57

Eisenstein, Sergei, 4, 10, 118, 122–133, 143, 147, 193, 234, 238, 286, 321, 328, 336

“El Cid,” 52, 88

“Elizabeth,” 90

Elliott, Denholm, 254

Emma, 75

Emmerich, Roland, 261

Emotional guidelines, 100

“Empire of the Sun,” 26, 247

“The Enemy Below,” 110

Engel, Tina, 264, 270

“The English Patient,” 97

“The Enigma of Kaspar Hauser,” 64

Ephron, Nora, 175

Epstein brothers, 5

“E.T.,” 247, 248, 250, 252, 256

“Europa Europa,” 336

European School of acting, 114–119

“Excalibur,” 29, 30

“The Exorcist,” 28

Exterior stories, 78–80

“Exterminating Angel,” 63

Eyes Wide Open, 237, 241

“Eyes Wide Shut,” 233, 237, 239, 240, 241, 242, 243, 244, 304, 326

F

“A Face in the Crowd,” 190, 191, 193, 301

“Fahrenheit 451,” 205

Fairbanks, Douglas, Jr., 150

“Fanny and Alexander,” 276

“Far From Heaven,” 82

“Fargo,” 84, 85

Farrow, Mia, 221, 227

Fassbinder, Rainer Werner, 261

“Fatal Attraction,” 335

“Fat Girl,” 289, 290, 291, 292, 293, 296, 297, 298, 299, 321

“Fearless Vampire Killers,” 220

Fellini, Federico, 4, 57, 59, 60, 61, 205

Female perspectives, 81–82

Fiennes, Ralph, 28, 247, 254

Figgis, Mike, 7

Film Form, 123

The Film Sense, 123

Finding director’s idea, 330–336

choosing director’s idea, 335–336

moving toward interpretation, 333–335

overview, 330–331

strategy for reading script, 331–333

“Fire,” 289

Firth, Peter, 223

“Five Graves to Cairo,” 170

“Flashdance,” 32

Flaubert, 79

Fleet, Jo Van, 196

Flinck, Throsten, 281

“Floating Life,” 289

Fonda, Henry, 137, 141

“Fool for Love,” 79

“Force 10 to Navarone,” 101

Ford, Harrison, 249, 254

Ford, John, 5, 9, 56, 75, 134–147, 149, 226, 253, 275, 286, 328

directing actors, 141–143

directing camera, 143–147

“My Darling Clementine,” 137

overview, 135–137

text interpretation, 138–141

“The Grapes of Wrath,” 137

“The Searchers,” 138

“They Were Expendable,” 137–138

“Foreign Affair,” 169

Forman, Milos, 58

Forsythe, Fredrick, 79

“The Fortune Cookie,” 163

Fosse, Bob, 39, 58

“Four Friends,” 20

“The 400 Blows,” 56, 205, 206, 211, 213, 214, 215

“Four Weddings and a Funeral,” 99

Frankenheimer, John, 26, 28, 41, 42, 49, 88, 191, 319

Franzoni, David, 29

“The French Connection,” 28

“French Twist,” 81, 290

“Fresh,” 302

“Frida,” 114

Friedkin, William, 28

Friedrich, Su, 80

Frode, Cecilia, 278

Frode, Lars, 278

“From Here to Eternity,” 52

Frot, Catherine, 290

“Fucking Åmål,” 275, 277–278, 279, 282, 283, 284, 285, 286

“The Fugitive,” 75

Fuller, Sam, 5

“Full Metal Jacket,” 36, 82, 90, 233, 234, 235, 237, 239, 240, 241, 242, 243, 245

“The Full Monty,” 81

Fuqua, Antoine, 28, 29–32, 317

G

Gable, Clark, 171

“Gallipoli,” 33, 35

“Gangs of New York,” 62

Garbo, Greta, 176, 183

Garfield, John, 193

“Gas, Food and Lodging,” 302, 303

Gavras, Costa, 82

Geddes, Barbara Bel, 191

“Gentleman’s Agreement,” 190, 193

“George Stevens: A Filmmaker’s Journey,” 149

George Stevens Interviews, 149, 154–155

“The German Sisters,” 261

Giallelis, Stathis, 191, 198

“Giant,” 149, 152, 153, 154, 155, 160, 161

Gibson, Mel, 7, 74, 110

“GI Jane,” 181

“Gladiator,” 21, 32, 46, 100

Global Scriptwriting, 56, 277, 303

Godard, Jean Luc, 63, 93, 213

“The Godfather,” 7, 58, 79, 115, 116, 328

“Godfather Part II,” 58

“Going in Style,” 80

“Gone with the Wind,” 5

“Goodbye Lenin,” 83, 84

Good directing, 40–53

adding value to project, 49–52

Michael Mann’s “Collateral” case study, 47–48

overview, 40–41

“Goodfellas,” 7, 62, 91

Gordon, Ruth, 221

“The Graduate,” 88

Grant, Cary, 88, 93, 150

The Grapes of Wrath, 76

“The Grapes of Wrath,” 135, 136, 137, 143, 146, 328

Grass, Günter, 80

Grazer, Brian, 5

Great directing, 55–70

contemporary great directors in America, 57–63

contemporary great directors outside America, 63–70

overview, 55–56

voice, 56–57

Great Directors at Work, 111, 112

Great Expectations, 75

Griffith, Andy, 190, 191

Griffith, D. W., 56, 123, 130, 149, 238

Grisham, John, 26

Grotowski, Jerzy, 114

“The Gunfight at the OK Corral,” 76

“The Gunfighter,” 143

“Gunga Din,” 149, 150, 153, 154, 155, 157

H

Hallström, Lasse, 109, 283

“Hamlet,” 73, 74, 82, 110, 180

Hammarsten, Gustav, 278

Hanks, Tom, 247, 251, 254, 325

“Hannah and Her Sisters,” 60, 61

Hannibal, 28

Hapgood, E. R., 112

“A Hard Day’s Night,” 92

Hardy, Oliver, 158, 159

Harris, Jared, 306, 312

Harris, Julie, 191

Harris, Thomas, 28

Harron, Mary, 300–315, 321, 322

“American Psycho,” 307–310

directing actor, 312–313

directing camera, 313–315

“I Shot Andy Warhol,” 306–307

overview, 301–305

text interpretation, 310–311

Hart, Harvey, 78

Hart, Moss, 189

Hathaway, Henry, 80, 135, 138, 141

Hawks, Howard, 4, 5, 47, 53, 56, 88, 135, 138, 141, 178, 205

Hayden, Sterling, 242

Haynes, Todd, 82

“Heat,” 47

“Heaven,” 8

“Heaven Can’t Wait,” 110

Hecht, Ben, 178

Heckerling, Amy, 75, 289, 302, 303

“The Heiress,” 22

“Heist,” 7, 118

Helgeland, Brian, 80

Hennessy, Jill, 312

Henry V, 79

“Henry V,” 110

Hepburn, Audrey, 169

Hepburn, Katherine, 150, 175, 254

“Hero,” 64, 147, 277

“The Heroes of Telemark,” 52

Herzog, Werner, 64, 261

“He Walks by Night,” 53

“High Noon,” 51, 52, 55, 98

“His Girl Friday,” 88, 178

Hitchcock, Alfred, 5, 6, 57, 82, 88, 89, 90, 93, 98, 99, 119, 156, 205, 248

Hoffman, Dustin, 109, 198

Holden, William, 141, 163, 164, 169, 171, 323

“A Hole in My Heart,” 275, 276, 281, 282, 283, 284, 285, 287

Holland, Agnieszka, 261, 289, 336

“Homicide,” 118, 301

Hopkins, Anthony, 112

Hopkins, Miriam, 178, 183

Horton, Edward Everett, 183, 184

“Hour of the Gun,” 75

“Hour of the Wolf,” 276

“The Housekeeper,” 289

Houston, Angelica, 7, 111

Howard, Arliss, 237

Howard, Ron, 78, 109

“How Green Was My Valley,” 136, 143, 144

Hudson, Rock, 152

Hugo, Victor, 75

The Human Stain, 79

“The Hunted,” 28

Hunter, Kim, 191

“Husbands and Wives,” 60

Huston, Angelica, 289

Huston, John, 222

Hytner, Nicolas, 7

I

“I Heart Huckabees,” 96

“Il Posto,” 57

Importance of directors, 5–6

“I’m Walking on Sunshine,” 310

“The Incredible Hulk,” 8

“Indiana Jones,” 7, 26, 158, 248, 254

“Indiana Jones and the Last Crusade,” 27, 248, 254

“Indiana Jones and the Temple of Doom,” 248, 252

“In Dreams,” 99

“The Informer,” 136

Inge, William, 189

Inside out approach to acting, 113

“The Insider,” 47, 80

“Insomnia,” 97

Interior stories, 78–80

Interpretation of text, 72–85

by Billy Wilder, 167–169

by Catherine Breillat, 295–296

by Elia Kazan, 197–198

by Ernst Lubitsch, 181–183

by Francois Truffaut, 209–212

by George Stevens, 152–154

interior/exterior stories, 78–80

by John Ford, 138–141

by Lukas Moodysson, 282–283

male/female perspectives, 81–82

by Margarethe Von Trotta, 268–270

by Mary Harron, 310–311

overview, 72–76

political/sociological/psychological overtones, 82–84

by Roman Polanski, 224–227

by Stanley Kubrick, 238–242

Steinbeck’s East of Eden, 76–78

by Steven Spielberg, 252–254

tone, 84–85

young/old perspectives, 80–81

“In the Mood for Love”, 277

“Intimacy,” 26, 27

“Intolerance,” 130

“Iron Horse,” 135

“I Shot Andy Warhol,” 301, 302, 303, 304, 305, 306–307, 310, 312, 313, 314, 322

“Ivan the Terrible,” 128, 328

“Ivan the Terrible Part I,” 123, 124, 125, 127, 129, 130, 132, 133

“Ivan the Terrible Part II,” 123, 124, 125, 127, 129, 133

J

“Jack,” 26

Jackson, Peter, 7, 27

Jaffe, Sam, 150

James, Henry, 22

Jaoui, Agnés, 290

“Jaws,” 7, 79, 247, 248, 249, 252, 254, 255, 256, 325

Jenkins, Patty, 302, 303

“Jesus of Montreal,” 67, 68, 69

Jeunet, Jean-Pierre, 96

Johnson, Ben, 142

Jones, David Richard, 111

Jordan, Neil, 99

Jovanovich, Harcourt Brace, 123

“Jules et Jim,” 205

Julius Caesar, 75

“Jurassic Park,” 7, 247, 248, 253, 254

K

Kahn, Cedric, 17, 18, 19

Kaiser, Friedrich, 265

Kapur, Shekhar, 90

Kar-wai, Wong, 6

Kasdan, Lawrence, 76

Kassovitz, Peter, 276

Kazan, Elia, 7, 14, 44, 45, 46, 77, 109, 111, 118, 119, 142, 169, 188–202, 220, 284, 301, 320, 321, 322, 336

“America, America,” 196–197

directing camera, 200–202

direction actor, 198–200

“East of Eden,” 196

“On the Waterfront,” 195

overview, 189–194

“Panic in the Streets,” 194–195

text interpretation, 197–198

Keaton, Buster, 56, 59, 110, 170

Keaton, Diane, 7, 110, 290

Kelly, Gene, 55, 319

Kidman, Nicole, 237, 326

Kieslowski, Krystof, 56, 64, 97, 219, 220, 231

“Kill Bill,” 335

“The Killing,” 233, 235, 240, 241, 242, 243

King, Henry, 143

“King Arthur,” 29–32, 52, 317, 335

King Lear, 75, 80, 81

Kinski, Nastassja, 223, 228

“Kiss me Stupid,” 163

Klimov, Elem, 64, 258

“Knife in the Water,” 57, 219, 229

Knopf, 212

Kozintsev, 74

Kubrick, Stanley, 20, 32, 36, 37, 38, 55, 56, 82, 87, 90, 92, 93, 102, 232–245, 304, 320, 326, 327, 334

“2001: A Space Odyssey,” 235–236

“Barry Lyndon,” 236–237

directing actor, 242–243

directing camera, 243–245

“Eyes Wide Shut,” 237–238

“Full Metal Jacket,” 237

overview, 233–235

text interpretation, 238–242

“Kundun,” 7, 62

Kurosawa, Akira, 64, 143, 147

Kusturica, Emir, 65, 69, 70

L

LaBute, Neil, 114

“Lady in the Lake,” 90

Lampe, Jutta, 265, 267, 270, 271, 275

Lang, Fritz, 56, 200

Lasch, Christopher, 301

“The Last Metro,” 205

“The Last of the Mohicans,” 47

“The Last Temptation of Christ,” 62

“The Last Tycoon,” 190

Laughton, Charles, 110, 163

Laurel, Stan, 158, 159

Laurel and Hardy, 149

Law, Clara, 289

“Lawman,” 101

“Lawrence of Arabia,” 79, 87, 93, 130

Lawson, Leigh, 223

Lean, David, 80, 87, 93, 100, 130, 143, 156, 169, 193, 243

Léaud, Jean-Pierre, 206, 208, 212, 327

Lee, Ang, 8, 82

Lee, Harper, 80

Lee, Spike, 7, 8, 58

Leigh, Mike, 94, 119

Lemmon, Jack, 163, 164, 169, 170, 171, 323 Leoni, Serge, 98

“Leon the Professional,” 8

“The Leopard,” 57, 79

Les Misérables, 75

“Less Than Meets the Eye,” 169

Lester, Richard, 92

Leto, Jared, 308, 312

Levinson, Barry, 8

Lewis, Jerry, 59, 110

Lewis, Juliette, 109

Lewis, Sinclair, 123

Liedberg, Jessica, 278

A Life, 190, 199

The Life of Pi, 79

“The Lighthorsemen,” 32–39, 49, 50, 317

Lighting, 94–95

“Lilja 4-Ever,” 275, 279, 282, 283, 284, 285, 287, 328

Liljeberg, Rebecka, 277

Limans, Doug, 21

“The Limey,” 7, 334

Lindgren, Lisa, 278

“The Lion King,” 114

“Little Foxes,” 51, 95

“The Lives of a Bengal Lancer,” 80, 138

“Thelma and Louise,” 181

Loach, Ken, 209

Logan, Joshua, 29

“Lola Montes,” 243

Lolita, 38, 79

“Lolita,” 73, 233, 239, 241, 242, 243

Lombard, Carole, 176, 183, 275

“Lonesome Dove,” 33

Lonsdale, Michel, 212

“The Lord of the Rings,” 7, 27

“Lorenzo’s Oil,” 22, 23

“The Lost Honor of Katharina Blum,” 261, 264, 268, 270

“Lost in Translation,” 333

“The Lost Weekend,” 163, 164, 165, 167, 170, 172, 323

“Love at Twenty,” 205, 208

“Love Me If You Dare,” 95

“Love on the Run,” 205, 206, 207–208, 210, 211, 214, 327

Lubitsch, Ernst, 56, 57, 174–186, 220, 275, 276, 322, 323

directing actors, 183–184

directing camera, 184–186

“Ninotchka,” 179

overview, 175–178

text interpretation, 181–183

“The Shop Around the Corner,” 180

“To Be or Not To Be,” 180–181

“Trouble in Paradise,” 178

Lucas, Craig, 114

Lucas, George, 6, 7, 158

Lucas, Josh, 312

Lumet, Sidney, 6, 118, 191, 301

Lundqvist, Anja, 278

Lupino, Ida, 110, 290

“L Word,” 301

Lyne, Adrian, 32, 38, 39, 317, 318, 335

M

“M,” 200

Macbeth, 75

MacLaine, Shirley, 164

MacMurray, Fred, 150, 164, 166, 170, 171

Madame Bovary, 79

Main character, 101

“The Major and the Minor,” 163, 170

Malden, Karl, 191, 195

Male perspectives, 81–82

Malick, Terence, 58, 336

Malle, Louis, 213

Mamet, David, 7, 115, 118, 119

Mamoulian, Reuben, 90, 93

“The Manchurian Candidate,” 28, 41, 43, 45, 73, 88, 318, 319

“A Man for all Season,” 52

“The Man from Laramie,” 53

“Manhattan,” 60, 61

“Manhunter,” 28

“The Man I Killed,” 276

Mankiewicz, Joseph, 5, 21, 56, 88, 169, 178

Mann, Anthony, 5, 9, 49, 51, 52, 88, 95, 136, 318

Mann, Michael, 28, 47–48, 80, 95, 254, 319

Mann, Paul, 192, 200

“Man of Marble,” 231

“Man on Fire,” 7

“The Man Who Loved Women,” 206

“The Man Who Shot Liberty Valence,” 135, 142

“The Man Who Wasn’t There,” 84

Marber, Patrick, 79, 114

“Maria Full of Grace,” 94

“Marianne and Juliane,” 261, 262, 263, 264, 265–267, 268, 269, 270, 272, 321

Marjanovic, Goran, 281

“Marnie,” 82

Marshall, Herbert, 178, 183

Marshall, Rob, 39

Marston, Joshua, 94

Martell, Yann, 79

Marx Brothers, 59

Mason, James, 242, 243

Massey, Raymond, 192, 322

“Master and Commander,” 83

Mathis, Samantha, 308

Matthau, Walter, 163, 170

Matthis, Samantha, 312

Maugham, Somerset, 78

Mazursky, Paul, 181

McCrea, Joel, 151

McDowell, Andie, 99

McDowell, Malcolm, 242

McLaughlin, Victor, 142, 150

McQ, 7

“Mean Streets,” 62

“Meet the Fokkers,” 20

Mehta, Deepa, 289

Meirelles, Fernando, 82

Meisner, Sanford, 113, 115

“Memento,” 97

Mendes, Sam, 7, 22, 57

“Men in War,” 53

“Mephisto,” 64

The Merchant of Venice, 75

Mesquida, Roxane, 293, 294

“The Messenger,” 7

Meyers, Russ, 290

Michalkhov, Nickolai, 64

Michell, Roger, 8

Milland, Ray, 163, 164, 170, 171, 323

Miller, Arthur, 189

Miller, George, 22

“Miller’s Crossing,” 84

Mineo, Sal, 141

Minghella, Anthony, 20, 97

“The Missing,” 109

“Mission Impossible II,” 335

“Modern Times,” 55

Modine, Matthew, 237, 242

Monroe, Marilyn, 163, 169, 270

“Monsoon Wedding,” 302

“Monster,” 302, 303

Montgomery, Robert, 90, 137, 142

Moodysson, Lukas, 274–287, 327, 328

“A Hole in My Heart,” 281–282

directing actor, 284–285

directing camera, 285–287

“Fucking Åmål,” 277–278

“Lilja 4-Ever,” 279–280

overview, 277–278

text interpretation, 282–283

“Together,” 278–279

Moreau, Jean, 212

Moreau, Jeanne, 290

“The More the Merrier,” 149, 150–151, 154, 156, 158, 159

Morgan, Frank, 176

Morgenstern, Danny, 307

Mostel, Zero, 191, 193, 322

“The Motorcycle Diaries,” 96

“Mouchette,” 61

Mowbray, Alan, 142

“Mrs. Doubtfire,” 28, 81

“Mr. Smith Goes to Washington,” 21, 178

Müller-Westernhagen, Marius, 265

Murch, Walter, 97

Murnau, F. W., 56, 57, 93

“My Darling Clementine,” 53, 75, 135, 136, 137, 138, 139, 142, 144, 145

My Life, 193

“Mystic River,” 7, 58, 110

N

Nabakov, 38, 79, 239

Nair, Mira, 302

“The Naked Spur,” 53

“The Nasty Girl,” 64

“Natural Born Killers,” 7, 58

Neal, Patricia, 190, 191

Neill, Sam, 248, 254

“Network,” 301

“Nevada Smith,” 135

Nichols, Mike, 6, 88, 111

Nicholson, Jack, 110, 221, 228, 242

“The Night of the Hunter,” 110

“Ninotchka,” 57, 163, 175, 176, 177, 179, 182, 183, 184, 185, 323

“The Ninth Day,” 15, 19

“The Ninth Gate,” 220

Nolan, Christopher, 97

Norell, Ola, 278

“North by Northwest,” 93

Norton, Ed, 28

“Notorious,” 88

“Nuit et Jour,” 290

Nyqvist, Michael, 278

O

“O, Brother, Where Art Thou?,” 46, 100, 101

Objective camera placement, 89–90

O’Brian, George, 142

“Odd Man Out,” 51, 243

Ogrodnik, Mo, 302

O’Hara, Maureen, 142

Old perspectives, 80–81

“Oliver Twist,” 243

Olivier, Lawrence, 110, 112

“Olivier, Olivier,” 289

Olmi, Ernanno, 57

Olson, Nancy, 167

“Once Upon a Time in the West,” 98

On Directing Film, 115, 118

O’Neal, Ryan, 242, 243, 326

“One-Eyed Jacks,” 110

O’Neill, Eugene, 84

“One Two Three,” 84, 333

“Only Angels Have Wings,” 135

“The Only Game in Town,” 149

“On the Waterfront,” 109, 190, 191, 192, 193, 194, 195, 198, 201, 322

“Open City,” 61

Ophuls, Max, 93, 156, 243

“Ordinary People,” 7, 110

Ordinary People, 15, 110

Osborne, Paul, 77, 189

Osment, Joel Haley, 254

“The Osterman Weekend,” 25

Othello, 75

“Out of Sight,” 254

Outside in approach to acting, 112

Owen, Clive, 31

Ozu, Yasujiro, 61, 63

P

Pabst, G. W., 64

Palance, Jack, 193, 322

“Pandora’s Box,” 64

“Panic in the Streets,” 191, 193, 194–195, 199, 200, 322

Parallel action, 99–100

Parillaud, Anne, 294, 296

Pasolini, Pier Paolo, 281

“The Passion,” 110

“The Passion of Christ,” 7

“The Passion of Joan of Arc,” 57, 285

“Pather Panchali,” 63

“Paths of Glory,” 82, 233, 235, 238, 241, 243

“Patton,” 127

“Payback,” 80

Payne, Alexander, 101, 283

“Pearl Harbor,” 37, 49, 320

Peck, Gregory, 143, 193

Peckinpah, Sam, 25, 88, 92, 100, 123, 136

“Pelle the Conqueror,” 64

Penn, Arthur, 6

Penn, Sean, 110–111

“Persona,” 276

“The Pianist,” 219, 220, 224, 226, 227, 230, 231, 286

“A Place in the Sun,” 149, 151, 152, 155, 156, 161, 324

“The Player,” 58, 301

Plimpton, Martha, 307, 312

“Point Blank,” 80

“Point Break,” 290

Polanski, Roman, 49, 57, 89, 90, 218–231, 248, 252, 253, 286, 326, 327, 336

“Chinatown,” 221–222

directing actor, 227–229

directing camera, 229–231

overview, 219–220

“Rosemary’s Baby,” 221

“Tess,” 223–224

text interpretation, 224–227

“The Pianist,” 224

Political overtones, 82–84

Pollack, Sidney, 25, 58, 109, 301

Pontecorvo, Gillo, 57

Porter, 99

“Potemkin,” 123, 124, 125, 128, 129, 130, 133

Powell, Dick, 110

Preminger, Otto, 5, 119, 170

“The Princess and the Warrior,” 64

“The Private Life of Sherlock Holmes,” 163

Prochnow, Jürgen, 264

“The Producers,” 79

“The Promise,” 84, 261

Proximity of camera, 89

Psychological overtones, 82–84

Pudovkin, Vassili, 10, 118, 123

“Pulp Fiction” , 277

“The Purple Rose of Cairo,” 60, 301

Puzo, Mario, 79

Q

“Queen Margot,” 26, 27

“The Quiet Man,” 136

Quinn, Anthony, 191, 199

R

“Raging Bull,” 7, 62

“Raiders of the Lost Ark,” 247, 248, 249–250, 252, 253, 254, 256, 257

“The Rainmaker,” 26

“Raising Arizona,” 84, 85, 336

Rami, Sam, 27

Ramsay, Lynn, 96, 209, 276

Raphael, Frederic, 237

Raphaelson, Samuel, 175, 178

“Ratcatcher,” 96, 209

Ratner, Brett, 28

“Raw Deal,” 53

Ray, Nicholas, 82

Ray, Sajajit, 63, 147

The Razor’s Edge, 78, 79

“A Real Young Girl,” 289, 291

“Rebel Without a Cause,” 82

Reboux, Anaïs, 293

“Red,” 64, 97, 231

“Red Dragon,” 28

Redford, Robert, 7, 110

“Red Lights,” 17, 19

“Red River,” 135

“Reds,” 110

Reed, Carol, 51, 52, 243

Reed, Donna, 138

Reisz, Karel, 6, 10

Reize, Silva, 265

Remick, Lee, 191

Remy, Albert, 213

Renoir, Jean, 336

“Repulsion,” 89, 219, 220, 229

“Requiem for a Dream,” 79

“Respiro,” 276

Rhys-Davies, Jonathan, 249

Riemann, Katja, 267, 270

“Rio Bravo,” 53

“Rio Grande,” 144

“The Rise of Louis XIV,” 57

“Road to Perdition,” 22, 57

Robinson, Edward G., 166

Roehmer, Eric, 5

Rogers, Ginger, 170

“Romance,” 289, 290, 291, 292–293, 295, 296, 297, 298

“Roman Holiday,” 51

“Romeo and Juliet,” 74, 75

Roney, Shanti, 278

“Ronin,” 26

“Rosa Luxembourg,” 261, 268, 270, 276

“Rosemary’s Baby,” 219, 220, 221, 225, 226, 227, 228, 230, 231, 253, 326

“Rosenstrasse,” 261, 262, 264, 267–268, 269, 270, 271, 272, 273, 289

Rossellini, Roberto, 57, 61, 79

Roth, Phillip, 79

Ruggles, Charles, 183, 184

Rumann, Sig, 183

Russell, David, 96

Rust, Mathias, 277

S

“Sabrina,” 169

Sage, Bill, 308

Saint, Eva Maria, 110, 195

Salles, Walter, 96

“Salo,” 281

Samuell, Yann, 95

“Santa Fe Trail,” 135

Sarri, Olle, 278

Sarris, Andrew, 6, 55, 56, 169, 233

“Saving Private Ryan,” 26, 93, 247, 248, 251, 253, 254, 256, 257, 258, 324, 325

Scarface, 138

Schaffner, Franklin, 127

Scheider, Roy, 247, 254, 325

Schindler, Oscar, 226

“Schindler’s List,” 20, 26, 58, 226, 247, 248, 253, 255

Schlondorff, Volker, 15, 16, 17, 64, 100, 101, 220, 261

Schneider, Peter, 265

Schrader, Maria, 267

Schulberg, Budd, 189

Scorsese, Martin, 6, 7, 8, 58, 61, 62, 63, 91, 275

Scott, George C., 127

Scott, Ridley, 19, 32, 46, 100, 181

Scott, Tony, 7, 32

“The Searchers,” 135, 136, 138, 139, 142, 143, 144, 145, 253, 328

“The Second Awakening of Christa Klages,” 261, 263, 264–265, 268, 270, 321

“Seconds,” 88

Sellers, Peter, 242, 243

Selznick, David, 5

“Sense and Sensibility,” 8

“September,” 59

Serreau, Coline, 64, 81, 290

“Seven Samurai,” 64

“The Seventh Seal,” 276

“Seven Women,” 142

Sevigny, Chloé, 312

“Sex Is Comedy,” 289, 290, 291, 292, 294, 296, 297, 298

“Shadows,” 110

Shakespeare, 73, 75, 79, 110

“Shall We Dance,” 81

“Shane,” 149

Shaw, Robert, 249, 254

“She Wore a Yellow Ribbon,” 135, 143, 144

“The Shining,” 233, 235, 239, 240, 242

“Shoot the Piano Player,” 205

“The Shop Around the Corner,” 175, 176, 180, 182, 183, 323

“Short Cuts,” 319

“A Short Film about Loving,” 57

Shot, 87–89

“Show Me Love,” 275

“Sideways,” 101, 283

Siffredi, Rocco, 294

Signoret, Simone, 290

“Silence of the Lambs,” 27, 335 Silence of the Lambs, 28

“Silk Stockings,” 175

Singer, Isaac Bashevis, 231

“Singin’ in the Rain,” 55, 234, 241, 319

“Sink or Swim,” 80

“Sisters,” 270, 272, 276

“Sisters, or the Balance of Happiness,” 263

“The Sisters of Happiness,” 261

Skolimowski, Jerzy, 231

“Small Change,” 56

Smiley, Jane, 75, 80, 81

Sociological overtones, 82–84

Soderbergh, Steven, 6, 7, 8, 20, 254, 334

“The Soft Skin,” 205

“Some Like It Hot,” 163, 169

Sound, 96–97

“The Spanish Prisoner,” 7

“Spartacus,” 87, 90, 233, 235, 239

“Spartan,” 7, 118

Speerstra, Karen, 10

“Spiderman 2,” 27, 109

Spielberg, Steven, 7, 19, 20, 26, 58, 89, 90, 93, 156, 158, 205, 226, 246–258, 324, 325, 326, 334

directing actors, 254–255

directing camera, 255–258

“E.T.,” 250

“Jaws,” 249

overview, 247–249

“Raiders of the Lost Ark,” 249–250

“Saving Private Ryan,” 251

text interpretation, 252–254

“Splendor in the Grass,” 44, 45, 189, 320, 322

“The Sprecher sisters, 302

Stack, Robert, 181

“Stagecoach,” 135, 143

“Stage of Siege,” 82

“Stalag 17,” 163, 169, 170

Stanislavsky, Konstantin, 111, 112, 113, 114, 118

Stanwyck, Barbara, 163, 166, 254

“Stardust Memories,” 59

“Star Wars,” 7

Steiger, Rod, 109, 191, 192, 322

Steinbeck, John, 76–78, 189

Stevens, George, 49, 56, 148–161, 175, 226, 238, 240, 275, 324, 325, 326

“Alice Adams,” 150

“A Place in the Sun,” 151

directing actors, 154–156

directing camera, 156–161

“Giant,” 152

“Gunga Din,” 150

overview, 149

text interpretation, 152–154

“The More the Merrier,” 150–151

Stevens, George, Jr., 149

Stewart, James, 142, 176, 183

Stiller, Ben, 110

“Stolen Kisses,” 205, 206, 207, 210, 211, 212, 213, 214, 215

Stone, Oliver, 7, 8, 58, 82, 123

Story form, 101–102

“The Story of Adele H,” 205, 212

Strasberg, Lee, 113, 115

“A Streetcar Named Desire,” 190, 191

“Strike,” 124

Sturges, John, 75, 76

Sturges, Preston, 5, 56

Subjective camera placement, 90

“The Sudden Wealth of the Poor People of Kalmbach,” 261

Sukowa, Barbara, 265, 270, 271, 276

“Sunrise,” 57

“Sunset Boulevard,” 56, 163, 164, 165, 167, 170, 172, 323

“Sunshine,” 7

Swanson, Gloria, 163, 164

“Swing Time,” 149

“The Sword of Lancelot,” 29

Szabo, Istvan, 7, 64, 149

T

“Taking Sides,” 7

“Talk to Her,” 36, 65, 66, 94

Tarantino, Quentin, 52, 277, 335 Tarkington, Booth, 150

Tarkovsky, Andrei, 219

“The Taste of Others,” 290

“Taxi Driver,” 62

Taylor, Elizabeth, 151, 152, 324

Taylor, Lili, 306, 312, 322

Taymor, Julie, 114

“Tears of the Sun,” 29

The Technique of Film and Video Editing, 10, 251, 289

“The Tenant,” 219

“Terrible,” 328

Terry, Phillip, 165

“Tess,” 89, 219, 220, 222, 223–224, 226, 227, 229, 230, 231, 326

Text interpretation, see interpretation of text

Thalbach, Katharina, 264

Theroux, Justin, 308

“They Were Expendable,” 135, 136, 137–138, 140, 145

“Thief,” 47, 95

“Things Change,” 118

“The Thin Red Line,” 58, 336

“The Third Man,” 51

“Thirteen Conversations About One Thing,” 302

“The Thirty-Nine Steps,” 88, 98

“36 Fillette,” 289

Thomas, Henry, 247, 250, 254

“A Thousand Acres,” 75, 80, 81

“Three Men and a Baby,” 81

“Time Code,” 7

“Time of the Gypsies,” 69, 70

“The Tin Drum,” 64, 100

The Tin Drum, 80

“Titanic,” 20, 332

“Titus,” 114

“T-Men,” 52, 95

“To Be or Not To Be,” 175, 176, 177, 180–181, 182, 183, 185, 186, 275, 322

“Together,” 275, 278, 279, 282, 283, 284, 285, 286, 287, 327

To Kill a Mockingbird, 80

“Tokyo Story,” 61

Tolstoy, Leo, 79

“Tombstone,” 76

Tone, 84–85, 100–101

“Tootsie,” 25, 58, 81, 109, 301, 332

Toubiana, Serge, 212

“Touch of Evil,” 93

Tracy, Spencer, 175

“Traffic,” 7, 334

Training Day, 29

“Trainspotting,” 97

“A Tree Grows in Brooklyn,” 190

“The Trilogy,” 276

“Trouble in Paradise,” 175, 176, 177, 178, 182, 184, 185, 322

“Troy,” 6

Truffaut, 212

Truffaut, Francois, 5, 56, 204–216, 252, 327

“Day for Night,” 208–209

directing actor, 212–213

directing camera, 213–216

“Love on the Run,” 207–208

overview, 205–206

“Stolen Kisses,” 207

text interpretation, 209–212

“The 400 Blows,” 206

“25th Hour,” 7

“2001: A Space Odyssey,” 20, 55, 233, 234, 235, 239, 240, 242, 244

Tykwer, Tom, 6, 8, 64, 275

U

“The Uncontrollable Male,” 135

“Underground,” 69

“Une Femme Infidele,” 38, 73, 317

“Unfaithful,” 38, 317

“Unforgiven,” 110

Unity of productions, 15–23

“Unstrung Heroes,” 7, 290

“The Untouchables,” 118

V

“The Vampire Killers,” 231

Van Diem, Mike, 64

“Vera Drake,” 94

“The Verdict,” 20, 118, 331

Verhoeven, Michael, 64

Verhoeven, Paul, 58, 261

“Vertigo,” 82, 99

Vertov, Dziga, 10, 123

“A Very Long Engagement,” 331

Vigo, Jean, 205

Vinterberg, Thomas, 64, 92

Visconti, Luchino, 57, 79, 92, 93, 156

“Viva Zapata,” 189, 191

Von Sternberg, Joseph, 95

Von Stroheim, Erich, 163, 165, 170

Von Trier, Lars, 8, 276

Von Trotta, Margarethe, 84, 260–273, 275, 276, 289, 302, 321, 322

directing actor, 270–272

directing camera, 272–273

“Marianne and Juliane,” 265–267

overview, 261–264

“Rosenstrasse,” 267–268

text interpretation, 268–270

“The Lost Honor of Katharina Blum,” 264

“The Second Awakening of Christa Klages,” 264–265

“Voyage to Italy,” 79

W

Wachowski brothers, 82

Wai, Wong Kar, 277

Wajda, Andrej, 64, 231

Wallach, Eli, 191

Walsh, Raoul, 9, 135

Wanninger, Ashley, 294

War and Peace, 79

Washington, Denzel, 29

Washington Square, 22

Wayne, John, 137, 141, 143

Weaver, Dennis, 254

“Wednesday’s Child,” 209

“Weekend,” 63, 93

Weir, Peter, 35, 57, 83, 147

Welles, Orson, 51, 56, 93, 135, 238, 243, 248

Wenders, Wim, 261

Werner, Oscar, 212

“The Westerner,” 53

Weston, Judith, 115, 116, 118, 119

“West Side Story,” 55, 75, 87

“What’s Eating Gilbert Grape?,” 109

“When Father Was Away on Business,” 69

“The White Sheik,” 60

Widmark, Richard, 141

“The Wild Bunch,” 88, 100

“The Wild Child,” 56, 205, 206, 209

Wilde, Cornell, 29

Wilder, Billy, 5, 56, 58, 84, 91, 162–173, 175, 178, 261, 322, 323, 324, 333

directing actor, 169–171

directing camera, 171–173

“Double Indemnity,” 166

overview, 163–164

“Sunset Boulevard,” 165

text interpretation, 167–169

“The Apartment,” 165–166

“The Lost Weekend,” 165

Wilder, Gene, 220

Wildmark, Richard, 194

Williams, Tennessee, 189

Willis, Bruce, 29

Wincer, Simon, 28, 32–39, 49, 317

“Winchester73,” 49, 50, 51, 53, 318

Windmark, Richard, 199

Windsor, Marie, 243

Winkler, Angela, 264, 270

Winner, Michael, 101

“The Winslow Boy,” 7

Winters, Shelley, 151, 243, 324

Wise, Robert, 55, 87

Witherspoon, Reese, 308, 312

“Witness,” 57, 147

“Witness for the Prosecution,” 163

“The Woman Next Door,” 205

“Woman of the Year,” 175

Wong, Kar Wai, 275

Woo, John, 335

Wood, Ed, 28 Wood, Natalie, 189, 191

Wright, Jeffrey, 43

Writing the Short Film, 302

“Wyatt Earp,” 76

Wyler, William, 22, 51, 52, 53, 55, 58, 95, 169

Wyman, Jane, 164

Y

“The Year of the Gun,” 28

Yimou, Xiang, 64, 147, 277

“Young Mr. Lincoln,” 135, 136

Young perspectives, 80–81

“You’ve Got Mail,” 175

Z

“Z,” 82

Zeffirelli, 74

Zemeckis, Robert, 25, 98

“Zero de Conduite,” 205

Zinnemann, Fred, 25, 51, 52, 55, 58, 98

Zoncka, Eric, 64

“Zorba the Greek,” 22

Zwerling, Darrell, 222