This is a set of stunning photographs from the excellent book Conversations at the American Film Institute with the Great Moviemakers: The Next Generation.
- David Lean (right of camera in trench coat) braces with his crew against the fierce winds of the Irish coast on location of Ryan’s Daughter (1970). After months of weather delays in Ireland, Lean went to South Africa to finish the film.
What is directing? It’s trying to use a lot of people and some very heavy apparatus, and give it all the lightness of a pen while you are writing.” —David Lean
- John Huston with Humphrey Bogart and Lauren Bacall on the set of Key Largo (1945).
I think of a script as an organization, like an engine. Ideally everything contributes—nothing is in excess and everything works.” —John Huston
- Robert Wise (second from left) was the film editor for Orson Welles (kneeling) on Citizen Kane (1941) and The Magnificent Ambersons (1942). Here on the Ambersons set with (left to right) camera operator Jimmy Daly, Welles’ assistant Richard Wilson, cinematographer Stanley Cortez and gaffer Jimmy Almond.
I broke in with a great editor, Billy Hamilton, who told me when I was a kid, “There’s only one real requirement for an editor. You make a scene play. It may not be exactly the way the director shot
it, but if it plays, that’s it, and he’ll like it.’” —Robert Wise
- Federico Fellini gives the master’s touch to the fur hat of Anita Ekberg during the filming of La Dolce Vita (1961).
I am not a movie director who consciously plots the movements of the camera, because they are very natural. Imagination is everything. The picture is in my head, and I just try to make it.” —Federico Fellini
- John Huston (second from right) on the set of The Treasure of the Sierra Madre (1948) with his father, Walter Huston (left). With them are Tim Holt and his father, Jack Holt (right). Both Hustons won Oscars for the picture.
- Alfred Hitchcock with Jimmy Stewart during production of The Man Who Knew Too Much in 1956. Hitchcock made an earlier version of the story with the same title in 1935.
I think students must be taught to visualize, they have to learn there is a rectangle up there and it has to be filled. Personally I never look through the camera. What for? To find out whether the camera is lying?” —Alfred Hitchcock