Word: actor
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Dates: during 1960-1969
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...tramps. In True Grit his belt disappears into his abdomen, his opinions are sclerotic and his face is beginning to crack like granite. Audiences now recognize him as a grandfather image, using booze for arterial Antifreeze, putting off winter for one more day. They also recognize Wayne as an actor of force and persuasion. And the frontier town of Hollywood?which has never granted Wayne a single Academy Award?has begun to realize that it might just be a little behind in its payments...
...from only four plays--the last four: The Seagull, Uncle Vanya, The Three Sisters, and The Cherry Orchard. It is not correct, as often claimed, that Chekhov became interested in the theatre only in his last years. In his youth, in fact, he enjoyed quite a reputation as an actor in both professional and non-professional undertakings, which gave him a good deal of practical knowledge of the stage...
...relation to her becomes more purely visual as he goes through hell; the scope of his experience grows and grows, his vision becomes stronger and clearer as his life changes. Finally he is forced to play a clown in his home town while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him. Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same...
Ultimate Sacrifice. If Fonda was difficult, his close friend and fellow Easy Rider was impossible. A compatriot of James Dean, Director Dennis Hopper has become the caricature of the surly, inarticulate "man, like I mean" Method actor. He had once announced to Fonda that "the first movie I make will have to win at Cannes." But his appearances in films belied the boast. The mad stare, the simian stance could have been reproduced, everyone thought, by a dozen actors. Everyone but Peter Fonda. He persuaded Terry Southern (Dr. Strangelove) to collaborate on the Easy Rider script, and talked American International...
Take another look at the examples and I think you will find that they destroy many accepted postulates of filmmaking. The writer-reality problem, for example, effectively eliminates narrative point of view, that cherished mainstay of the narrative form. The confused character-actor names go a good way towards breaking down the wilful suspension of disbelief which every audience is supposed to have. The game itself serves to destroy the scared concept of the inviolate frame. At one point, Piccoli looks at the television screen, sees his companion running towards a window, rushes off-screen to save him and immediately...