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Great Directors, directed by Angela Ismailos, features conversations with ten of the world's greatest living directors: Bernardo Bertolucci, David Lynch, Liliana Cavani, Stephen Frears, ... See full summary »

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Great Directors, directed by Angela Ismailos, features conversations with ten of the world's greatest living directors: Bernardo Bertolucci, David Lynch, Liliana Cavani, Stephen Frears, Agnes Varda, Ken Loach, Todd Haynes, Catherine Breillat, Richard Linklater and John Sayles. The film documents Ismailos' voyage of discovering the creative personalities behind the camera. She explores the filmmakers' artistic evolution and personal identity, the role of politics and history on their work, and the agony and dilemmas in the creative process. It also examines the challenges of being an artist in an age of commercialism and globalization. The film traces the influence of cinematic movements and iconic directors on these directors' work-from the role of Neo-Realism in Bertolucci's evolution to the influence of Federico Fellini on David Lynch, Ingmar Bergman on Catherine Breillat and Rainer Werner Fassbinder on Todd Haynes. Written by Anonymous

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30 September 2010 (Greece)  »

Also Known As:

Megaloi skinothetes  »

Box Office

Opening Weekend:

$2,418 (USA) (9 July 2010)

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$17,921 (USA) (30 July 2010)
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User Reviews

 
A Motley Crew of Directors
12 December 2014 | by (United States) – See all my reviews

"Great Directors", directed by Angela Ismailos, features conversations with ten of the world's greatest living directors: Bernardo Bertolucci, David Lynch, Liliana Cavani, Stephen Frears, Agnes Varda, Ken Loach, Todd Haynes, Catherine Breillat, Richard Linklater and John Sayles.

We get to meet some great talent here. Catherine Breillat may not be well known, but her films are an emotional experience. After seeing this, many people will likely try to track down her work.

We find that David Lynch's career was really launched by Mel Brooks. Making "Dune" was a "75% nightmare", which he attributes to not having the final cut. He reflectively sees the failure of "Dune" as a blessing, though, because he could only go up after that. And, with "Blue Velvet", he certainly did go up.

You can hear about Ken Loach's socialism and Todd Haynes' "new queer cinema"; Haynes sees Fassbinder as his "template", which is an interesting choice. Fassbinder himself seems to be loved by film geeks and forgotten by almost all others. We also see that Roger Corman protégé John Sayles works sometimes for money, sometimes for love...


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