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Directors have long gone to rather worrying extremes to get an authentic performance from their actors. Here are five memorable examples…
“We were in the jungle. We had too much money. We had too much equipment. And little by little, we went insane” said director Francis Ford Coppola at the start of the 1991 documentary, Hearts Of Darkness. He was referring to his quixotic approach to making Apocalypse Now in 1979, but Coppola could equally have been talking about the process of filmmaking in general.
Not all directors literally end up in the jungle, of course, and some don’t even have access to lots of money or equipment, but they’re all wrestling with a creative process that involves actors, props, set designers, technical concerns, and all the other little details that ultimately result in the 90–120 minutes of footage that appear in cinemas.
This pressure may at least partially explain why »
Ralph Fiennes in Oscar nominee (but not DGA nominee) Stephen Daldry's The Reader In 1948, the 12-year-old Directors Guild of America (DGA), then known as the Screen Directors Guild (Sdg), began handing out annual achievement awards. Three Best Director Oscar winners — Frank Capra, John Ford, and Norman Taurog — alongside George Sidney, Delmer Daves, H. Bruce Humberstone, Irving Pichel, and, ex-officio, Guild president George Marshall took part in the initial Awards Committee in the selection of the Directors Guild Award honorees. The DGA Awards' first winner was Joseph L. Mankiewicz for A Letter to Three Wives, a critically acclaimed comedy-drama that would earn Mankiewicz a Best Director Academy Award the following year. Before 1970 (awards handed out in 1971), the Guild's list of finalists consisted of a variable number of directors, almost always more than five. From 1970 on, when the Directors Guild began restricting its list of motion picture nominees to five directors per year, »
- Andre Soares
2 items from 2012
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