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What Ever Happened to Orson Welles?
At twenty-five, Orson Welles (1915-1985) directed, co-wrote, and starred in Citizen Kane, widely considered the best film ever made. But Welles was such a revolutionary filmmaker that he found himself at odds with the Hollywood studio system. His work was so far ahead of its time that he never regained the wide popular following he had once enjoyed as a young actor-director on the radio. Frustrated by Hollywood and falling victim to the postwar blacklist, Welles departed for a long European exile. But he kept making films, functioning with the creative freedom of an independent filmmaker before that term became common and eventually preserving his independence by funding virtually all his ow...
The New Poverty Row
Since cinema's earliest beginnings, there has been friction between producers and directors. Shady accounting practices, which favored the distributors at the expense of the filmmakers, were all too common, causing many filmmakers to form independent companies to make and distribute their own product. This book examines six such low-budget exploitation companies--Associated Distributors Productions, Filmgroup, Hemisphere Pictures, American General Pictures, Independent-International Pictures, Dimension Pictures, and the author's own American-Independent Productions. A brief history of each company, laced with quotes from the company's principals, is presented, followed by a filmography that lists all known credits for that company.
Orson Welles Remembered
With a career spanning almost five decades, Orson Welles became--and in many ways still is--one of entertainment's biggest names. His temperamental vitality, his humor and his general theatricality contributed volumes to the American stage and movie screen. His concepts of lighting and staging brought a new era to American productions. Welles influenced an entire generation of directors. These interviews conducted between 2003 and 2005 record the reminiscences of 30 individuals who worked with Orson Welles in a professional capacity. Beginning with 1937 and his work in Mercury Theatre, it follows a selected few of many who were part of Welles's life up to his sudden death in October 1985. Including actors, editors, cinematographers, camera assistants and magicians, the work presents a rounded view of Welles's career and, to some extent, his personal life. Each interview is presented in question and answer format with occasional commentary inserted for context or clarification. Projects discussed include Welles's most notable (Citizen Kane and War of the Worlds) as well as others like Heart of Darkness and The Cradle Will Rock which never quite reached fruition.
Discovering Orson Welles
Publisher description
The Gorehound's Guide to Splatter Films of the 1980s
Reviews of The Gorehound's Guide to Splatter Films of the 1960s and 1970s: "recommended"--Booklist; "exhaustive...useful"--ARBA; "a solid reference work"--Video Watchdog; "bursting with information, opinion and trivia...impeccably researched"--Film Review; "interesting and informative"--Rue Morgue; "detailed credits...entertaining"--Classic Images. Author Scott Aaron Stine is back again, this time with an exhaustive study of splatter films of the 1980s. Following a brief overview of the genre, the main part of the book is a filmography. Each entry includes extensive technical information; cast and production credits; release date; running time; alternate and foreign release titles; comments on the availability of the film on videocassette and DVD; a plot synopsis; commentary from the author; and reviews. Extensive cross-referencing is also included. Heavily illustrated.
Italian Horror Film Directors
There is no cinema with such effect as that of the hallucinatory Italian horror film. From Riccardo Freda's I Vampiri in 1956 to Il Cartaio in 2004, this work recounts the origins of the genre, celebrates at length ten of its auteurs, and discusses the noteworthy films of many others associated with the genre. The directors discussed in detail are Dario Argento, Lamberto Bava, Mario Bava, Ruggero Deodato, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccesi, Bruno Mattei, and Michele Soavi. Each chapter includes a biography, a detailed career account, discussion of influences both literary and cinematic, commentary on the films, with plots and production details, and an exhaustive filmography. A second section contains short discussions and selected filmographies of other important horror directors. The work concludes with a chapter on the future of Italian horror and an appendix of important horror films by directors other than the 50 profiled. Stills, posters, and behind-the-scenes shots illustrate the book.
Dracula in Visual Media
This is a comprehensive sourcebook on the world's most famous vampire, with more than 700 citations of domestic and international Dracula films, television programs, documentaries, adult features, animated works, and video games, as well as nearly a thousand comic books and stage adaptations. While they vary in length, significance, quality, genre, moral character, country, and format, each of the cited works adopts some form of Bram Stoker's original creation, and Dracula himself, or a recognizable vampiric semblance of Dracula, appears in each. The book includes contributions from Dacre Stoker, David J. Skal, Laura Helen Marks, Dodd Alley, Mitch Frye, Ian Holt, Robert Eighteen-Bisang, and J. Gordon Melton.
Making Movies with Orson Welles
In 1958, soon after his arrival in Los Angeles, Gary Graver caught a showing of die recently released Touch of Evil. Upon viewing the B classic, Graver decided he wanted to be a director and spent many years honing his craft, as both a cinematographer and a director, not to mention writer, actor, and producerùmuch like his idol, Orson Welles. In 1970, when Graver learned that Welles was in town, he impulsively called the director and offered his services as a cameraman. It was only the second time in Welles's career that he had received such an offer from a cinematographer, the other from Gregg Toland who worked on Citizen Kane. Book jacket.
Wild Beyond Belief!
Exploitation filmmakers played a significant role in revolutionizing American cinema during the 1960s and early 1970s, churning out a string of independent Westerns, biker films, nudie-cuties and horror flicks in record times and often on shoestring budgets. With titles like Horror of the Blood Monsters, Cycle Savages and The Incredible 2-Headed Transplant, these films pushed the boundaries of acceptable on-screen violence and nudity and kept the American theater industry afloat as several major studios teetered on the brink of financial collapse. This work tells the story of that "other" Hollywood through interviews with 16 directors, performers, screenwriters, and stuntmen who helped bring these zero-budget films to the screen against incredible odds. The interviews give insights into exploitation filmmaking from the perspectives of pioneering directors Al Adamson and Jack Hill, actors Jenifer Bishop and Robert Dix, and stuntmen Gary Kent and Gary Littlejohn, and others. The work includes more than 50 photographs, including many rare behind-the-scenes images of the filmmakers on set.
Orson Welles
It is only in the editing studio that he possesses "absolute control." With scholarly erudition, Welles revels in the plays of Shakespeare and discusses their adaptation to stage and screen. He assesses rival directors and eminent actors, offers penetrating analyses of Citizen Kane, Touch of Evil, Chimes at Midnight, and The Third Man, and declares that he never made a film that lacked an ethical point-of-view. Book jacket.
