By Christine Vachon
Whole with behind-the-scenes diary entries from the set of Vachon's best-known fillms, taking pictures to Kill bargains the entire pride of an intimate memoir from the frontlines of self sustaining filmmakins, from considered one of its such a lot profitable agent provocateurs -- and survivors. Hailed by means of the hot York instances because the "godmother to the politically dedicated movie" and through Interview as a real "auteur producer," Christine Vachon has made her identify with such daring, debatable, and commercially winning movies as "Poison," "Swoon," Kids," "Safe," "I Shot Andy Warhol," and "Velvet Goldmine."Over the decade, she has develop into a motive force at the back of the main bold and strikingly unique self sustaining filmmakers-from Todd Haynes to Tom Kalin and Mary Harron-and helped positioned them at the map.So what do manufacturers do? "What do not they do?" she responds. during this savagely witty and straight-shooting advisor, Vachon unearths trheguts of the filmmaking process--rom constructing a script, nurturing a director's imaginative and prescient, getting financed, and drafting expertise to protecting arms, stoking egos, stretching each source to the restrict and pushing that restrict. alongside the best way, she deals clever useful insights and troubleshooting tips about dealing with every thing from hysterical actors and disgruntled teamsters to obtuse advertising executives.Complete with behind-the-scenes diary entries from the units of Vachon's best-known movies, capturing To Kill deals all of the satisfactions of an intimate memoir from the frontlines of self sufficient filmmaking, from one among its such a lot profitable agent provocateurs-and survivors.
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Extra info for Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies that Matter
16 It was one of those rare occasions when Lewton found himself, at least to a limited degree, in agreement with Gross. “There are certain selling points,” Lewton wrote to Koerner, “which I think can be made important by property exploitation. . This is the first de Maupassant story to reach the screen and . . ”17 Neither the scandal value of Simone Simon nor the literary value of de Maupassant, however, was successful in producing box-office receipts. Mademoiselle Fifi was much more favorably received by the critics, particularly James Agee, who was then writing film columns for Time and the Nation.
Arnett comes through it all unscathed, undoubtedly surprising audiences who must have been certain that his double-dealing would merit some terrible fate at the hands of Sam Wilde. qxd 34 7/19/07 8:12 AM Page 34 Chapter 3 Born to Kill doesn’t have much of a plot. For the most part it simply charts Sam Wilde’s juggernaut course to destruction. Along the way, however, there are strong performances by Tierney and Trevor, and excellent supporting work by Slezak and Cook. Tierney, a limited and rather stiff performer at best, generally reprises his role in Dillinger (1945), a performance invested with an amoral viciousness that made him an overnight star.
De Maupassant’s Elizabeth was a chubby prostitute, known affectionately by her clientele as “butterball” (boule de suif). The last to arrive before the coach departs for Cleresville, she is clearly not welcomed aboard by her fellow travelers. The nobility and the pretentious bourgeoisie are one in their feeling that it is beneath their station to ride with someone quite so common, and their attitude is cruelly obvious. The collective snub is not lost on Elizabeth, but she is by nature such a generous spirit that she simply accepts the line that has been drawn and confines her attention to the priest and Cornudet.
Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies that Matter by Christine Vachon