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Conversations with Scorsese
Now with a new afterword: the history and process of moviemaking in general, and of Martin Scorsese's brilliant and varied films in particular, through the words and wit of the master director. With Richard Schickel as the canny and intelligent guide, these conversations take us deep into Scorsese's life and work. He reveals which films are most autobiographical, and what he was trying to explore and accomplish in other films. He explains his personal style and describes many of the rewarding artistic and personal relationships of his career, including collaborations with Robert De Niro, Harvey Keitel, Jack Nicholson, and Leonardo DiCaprio. An invaluable illumination and appreciation of one of our most admired film directors.
Clint Eastwood
Through extensive, exclusive interviews with Eastwood (and the friends and colleagues of a lifetime), Time magazine film critic Richard Schickel has penetrated a complex character who has always been understood too quickly, too superficially. Schickel pierces Eastwood's monumental reserve to reveal the anger and the shyness, the shrewdness and frankness, the humor and powerful will that have helped make him what he is today. of photos.
The Actors
Here, Time's legendary film critic Richard Schickel profiles seven extraordinary actors, reading between their well-spoken lines: Humphrey Bogart, Marlon Brando, James Cagney, Charlie Chaplin, Gary Cooper, Douglas Fairbanks Sr., and Sir Lawrence Olivier. All of their lives, Schickel writes, could be made into an epic film.
Intimate Strangers
In trying to understand the power of celebrity in modern life, Schickel offers examples of how celebrity shapes the world, and offers a chilling warning about the consequences of obsession with celebrity.
Schickel on Film
Long-time film critic Richard Schickel takes an unabashedly opinionated look at the men who have changed the way we look at film. He explores their contributions to the art of filmmaking. Photos.
The Disney Version
“The single most illuminating work on America and the movies” (The Kansas City Star): the story of how a shy boy from Chicago crashed Hollywood and created the world’s first multimedia entertainment empire—one that shapes American popular culture to this day. When Walter Elias Disney moved to Hollywood in 1923, the twenty-one-year-old cartoonist seemed an unlikely businessman—and yet within less than two decades, he’d transformed his small animation studio into one of the most successful and beloved brands of the twentieth century. But behind Disney’s boisterous entrepreneurial imagination and iconic characters lay regressive cultural attitudes that, as The Walt Disney Company’s influence grew, began to not simply reflect the values of midcentury America but actually shape the country’s character. Lauded as “one of the best studies ever done on American popular culture” (Stephen J. Whitfield, Professor of American Civilization at Brandeis University), Richard Schickel’s The Disney Version explores Walt Disney’s extraordinary entrepreneurial success, his fascinatingly complex character, and—decades after his death—his lasting legacy on America.
Film on Paper
Presents essay reprints from Richard Schickel's "The Los Angeles Times Book Review," intended as a review of books about the movie industry but instead comments about different groups of players within the industry.
Double Indemnity
A new kind of film emerged from Hollywood in the early 1940s, thrillers that derived their plots from the hard-boiled school of crime fiction but with a style all their own. Appearing in 1944, 'Double Indemnity 'was a key film in the definition of the genre that came to be known as film noir. Its script creates two unforgettable criminal characters: the cynically manipulative Phyllis Dietrichson (Barbara Stanwyck) and the likeable but amoral Walter Neff (Fred MacMurray). Billy Wilder's brilliant direction enmeshes them in chiaroscuro patterns, the bright California sun throwing shadows of venetian blinds across dusty rooms, shafts of harsh lamplight cutting through the night. Richard Schickel traces in fascinating detail the genesis of the film: its literary origins in the crime fiction of the 1930s, the difficult relations between Wilder and his scriptwriter Raymond Chandler, the casting of a reluctant Fred MacMurray, the late decision to cut from the film the expensively shot final sequence of Neff's execution. This elegantly written account, copiously illustrated, confirms a new the status of 'Double Indemnity' as an undisputed classic.
