- Tapa blanda: 224 páginas
- Editor: Faber & Faber; Edición: Main (1 de noviembre de 1999)
- Idioma: Inglés
- ISBN-10: 0571190251
- ISBN-13: 978-0571190256
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº355.736 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Getting Away With It: Or - Further Adventures of the Luckiest Bastard You Ever Saw (Inglés) Tapa blanda – 1 nov 1999
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Descripción del producto
Too funny, too true, too sad to put down. "David Thomson, The Independent on Sunday"" "Too funny, too true, too sad to put down." --David Thomson, The Independent on Sunday Too funny, too true, too sad to put down. David Thomson, The Independent on Sunday" "Too funny, too true, too sad to put down." --David Thomson, "The Independent on Sunday"
Reseña del editor
Steven Soderbergh and Richard Lester are a generation apart, but theyshare a sense of humour and a passion for cinema. Soderbergh's freshman film, sex, lies and videotape, inaugurated a movementin US independent cinema. Lester's freewheeling work in the '60s and '70s (Help!, A Hard Day's Night, The Knack, How I Won the War, Petulia) helped create a 'new wave' of British film-making. Here, the two cineastes discuss their mutual passion for the medium in a frank,funny and free-ranging series of interviews. Also included is Soderbergh's diary of an extraordinary twelve months in which he ventured into 'guerilla film-making' with offbeatprojects Schizopolis and Gray's Anatomy, before returning to the Hollywood fray with the George Clooney hit Out of Sight.Ver Descripción del producto
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The other major part of the book is Soderbergh's journal c.1996 -- from about the time he finished editing "Schizopolis" and "Gray's Anatomy" through the months of trying to get them released, ending with his agreement to direct "Out of Sight". These sections are livelier and more amusing but get repetitive (negotiations fall through time and again, law suits drag on, procrastination is a never-ending theme) and too cute/clever (the wry footnotes get old after... well, pretty much right away).
I don't mean to be so down on this book -- I did enjoy it quite a bit -- but my expectations were higher and I know a lot of people who are not as interested in the technical side of filmmaking will find much of this material tedious. I would recommend it (highly) for those with that inclination, and also for fans of Mr. Lester's films (i.e., those who have seen and enjoyed at least "A Hard Day's Night", "The Knack", "Petulia", and one or two others). All others should approach warily.
The interview sections take us through Lester's films one by one - not an immensely detailed, blow by blow account, but the impression of frankness and ease with the fellow film-maker suggests that you get the to essence of Lester's work: insights which might not have emerged from a more conventional, or reverential, Q and A.
Personally, I could have done without the "Where did life come from and what's it all for?" meanderings towards the end - surely The Running, Jumping and Standing Still Film says all that needs to be said on that particular subject? - but overall this is, as the "publisher's" note says at the beginning, "Literature that soothes and invigorates, while accidentally stimulating the body's own defenses" - well, it's as good a description as any.
But that's just one half of the book. Intercut with Soderbergh's journal entries (which date from just after he finished 'Schizoplois' and 'Gray's Anatomy' to him helming 'Out of Sight)are a collection of interviews he has with Richard Lester, the groundbreaking director of "A Hard Days Night" and "The Knack" (which I just saw and absolutely loved). I have to confess I had not seen almost any of Richard Lester's work (not including the Superman movies of which I had no idea he was involved) and since all they talk about is Lester's films I found it uninteresting to read about movies I've never seen. I did though, through Soderbergh's praise, go and watch a number of Lester's movies and then went back and read the sections that discussed them.
But the real magic of this book, at least to me and to all the Soderbergh-ites out there, is Soderbergh. His journal entries are insightful, funny, and really honest. And his style is so casual it feels like reading over letters from an old friend. I absolutely flew through his journal entries and enjoyed ever one of them. The great thing, from a fan's perspective and people interested in the movie business, is the honest, tiresome, struggle he shows of just surviving in Hollywood and the toll it takes on him. And since 'Schizopolis' may be my favorite Soderbergh movie, his journal entries being written at the time of it's release is an extra treat. And if you're a fan of Richard Lester you'll like this book even more.
So I would absolutely recommend this book: it's funny, it's informational, it's inspiring, and it's refreshingly honest. Look forward to laughing a lot too; his musings on his own procrastination are comic gems.