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Bertrand Tavernier (b. 1941-2021) was widely considered to be the
leading light in a generation of French filmmakers who launched
their careers in the 1970s in the wake of the New Wave. In just
over forty years, he directed twenty-two feature films in an
eclectic range of genres from intimate family portrait to
historical drama and neo-Western. Beginning with his debut
feature-L'Horloger de Saint-Paul (1974), which won the prestigious
Louis Delluc prize-Tavernier showed himself to be a public
intellectual. Like his films, he was deeply engaged with the
pressing issues facing France and the world: the consequences of
war, colonialism and its continuing aftermath, the price of
heroism, and the power of art. A voracious cinephile, he was
immensely knowledgeable about world cinema and American film in
particular. Tavernier's roots were in Lyon, the birthplace of the
cinema. He founded and presided over the Institut Lumiere, which
hosts retrospectives and an annual film festival in the factory
where the Lumiere brothers made the first films. In this
collection, containing numerous interviews translated from French
and available in English for the first time, he discusses the arc
of his career following in the lineage of the Lumiere brothers, in
that his goal, like theirs, is to "show the world to the world." It
is no surprise, then, that an interview with Tavernier is a treat.
Beginning with discussions of his own films, the interviews in this
volume cover a vast range of topics. At the core are his thoughts
about the ways cinema can inspire the imagination and contribute to
the broadest possible public conversation.
Bertrand Tavernier (b. 1941) is widely considered to be the leading
light in a generation of French filmmakers who launched their
careers in the 1970s, in the wake of the New Wave. In just over
forty years, he has directed twenty-two feature films in an
eclectic range of genres, from intimate family portrait to
historical drama and neo-Western. Beginning with his debut
feature--L'Horloger de Saint-Paul (1974), which won the prestigious
Louis Delluc prize--Tavernier has shown himself to be a public
intellectual. Like his films, he is deeply engaged with the
pressing issues facing France and the world: the consequences of
war, colonialism and its continuing aftermath, the price of
heroism, and the power of art. A voracious cinephile, he is
immensely knowledgeable about world cinema and American film in
particular. Tavernier's roots are in Lyon, the birthplace of the
cinema. He founded and presides over the Institut Lumiere, which
hosts retrospectives and an annual film festival in the factory
where the Lumiere brothers made the first films. In this
collection, containing numerous interviews translated from French
and available in English for the first time, he discusses the arc
of his career following in the lineage of the Lumiere brothers, in
that his goal, like theirs, is to ""show the world to the world.""
It is no surprise, then, that an interview with Tavernier is a
treat. Beginning with discussions of his own films, the interviews
in this volume cover a vast range of topics. At the core are his
thoughts about the ways cinema can inspire the imagination and
contribute to the broadest possible public conversation.
Among the most innovative and influential filmmakers of the
twentieth century, Alain Resnais (1922-2014) did not originally set
out to become a director. He trained as an actor and film editor
and, during the sixty-eight years of his working life, delved into
virtually every corner of filmmaking, working at one time or
another as screenwriter, assistant director, camera operator and
cinematographer, special effects coordinator, technical consultant,
and even author of source material. From such award-winning
documentaries as Van Gogh and Night and Fog to the groundbreaking
dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel,
Resnais's films experiment with such themes as consciousness,
memory, and the imagination. Distinguishing himself from
associations with the French New Wave movement, Resnais considered
his films to be ""anti-illusionist,"" never allowing his spectators
to forget they were watching a work of art. In Alain Resnais:
Interviews, editor Lynn A. Higgins collects twenty-one interviews
with the filmmaker, twelve of which are translated into English for
the first time. Spanning his entire career from his early short
subjects to his final feature film, the volume highlights Resnais's
creative strategies and principles, illuminates his place in world
cinema history, and situates his work relative to the New Wave,
American film, and experimental filmmaking more broadly. Like his
films, the interviews collected here reveal a creator who is at
once an intellectual, a philosopher, an entertainer, a craftsman,
and an artist.
Among the most innovative and influential filmmakers of the
twentieth century, Alain Resnais (1922-2014) did not originally set
out to become a director. He trained as an actor and film editor
and, during the sixty-eight years of his working life, delved into
virtually every corner of filmmaking, working at one time or
another as screenwriter, assistant director, camera operator and
cinematographer, special effects coordinator, technical consultant,
and even author of source material. From such award-winning
documentaries as Van Gogh and Night and Fog to the groundbreaking
dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel,
Resnais's films experiment with such themes as consciousness,
memory, and the imagination. Distinguishing himself from
associations with the French New Wave movement, Resnais considered
his films to be ""anti-illusionist,"" never allowing his spectators
to forget they were watching a work of art. In Alain Resnais:
Interviews, editor Lynn A. Higgins collects twenty-one interviews
with the filmmaker, twelve of which are translated into English for
the first time. Spanning his entire career from his early short
subjects to his final feature film, the volume highlights Resnais's
creative strategies and principles, illuminates his place in world
cinema history, and situates his work relative to the New Wave,
American film, and experimental filmmaking more broadly. Like his
films, the interviews collected here reveal a creator who is at
once an intellectual, a philosopher, an entertainer, a craftsman,
and an artist.
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