By Tom Conley, T. Jefferson Kline
This compendium of unique essays bargains precious insights into the lifestyles and works of 1 of an important and influential administrators within the background of cinema, exploring his significant movies, philosophy, politics, and connections to different critics and administrators. offers a compendium of unique essays supplying important insights into the existence and works of 1 of an important and influential filmmakers within the background of cinema good points contributions from a world forged of significant movie theorists and critics offers readers with either an in–depth examining of Godard’s significant movies and a feeling of his evolution from the recent Wave to his later political classes Brings clean insights into the good director’s biography, together with reflections on his own philosophy, politics, and connections to different critics and filmmakers Explores a number of the eighty good points Godard made in approximately 60 years, and comprises assurance of his contemporary paintings in video
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Additional resources for A Companion to Jean-Luc Godard (Wiley-Blackwell Companions to Film Directors)
On the newsreels I went to about every event during the course of the year. I went to Ascot, the test match, and many other events. The newsreels were a big thing then. They had their own theatres, and apart from screening newsreels, they showed shorts and cartoons. There was a lot of competition in getting the news out first. They had all sorts of ways of spoiling the other people’s chances. The rights to some big events were granted to one company. What equipment was used? For wild shooting (nonsound) there was the Debrie, Newman Sinclair, and Bell and Howell, which were clockwork driven.
Anyway, I got the job. Then the camera operator on the main unit, Geoff Unsworth [1914–1978], was offered a film as a DP [director of photography]. He told Micky, and Micky said, “You should take it. ” I took over from Geoff as the operator. I finished the film and then went to operate on Black Narcissus (1947). Jack Cardiff was the DP. I then went off to photograph my first film as DP, End of the River (1947), shot up the Amazon in Brazil, which was a difficult picture one way and another. Powell and Pressburger produced it, but they never had a very active part in it.
Indb 31 9/16/11 7:15 AM Nicolas Roeg. indb 32 9/16/11 7:15 AM N ICOL AS ROEG 33 Do you have any favourites you worked on? No, they were all part of your life. Years ago they took much longer to make. That was a time when you could ponder film. The studios were like a film university. Gradually things speeded up because of advancing technology. Why did you decide to move into directing from camera work? Did you feel you needed a change? No, I didn’t decide to go in as a cameraman. I didn’t know what a cameraman was at the beginning.