DIRECTORS, 4 EDITION SAYLES John Sayles(right) with Chris Cooper Interview with Richard Laermer, in Films in Review(New York Sayles Talk, an interview with Trevor Johnston, in Sight and February 1985 ound (London), September 1993 Dialogue on Film: John Sayles, in American Film(Washington Interview in American Cinematographer (os Angeles), February 1995. D.C. ) May 1986 I Dont Want to Blow Anything by People, an interview with Interview with Pat Aufderheide, in Cineaste(New York), vol. 15 Gavin Smith, in Film Comment(New York), May-June 199 no.4,1987. Interview with Brooke Comer, in American Cinematographer los Color Bars, in American Film(Los angeles), vol. 13, no. 6, April 1988 Sayles-manship, an interview with Max Alexander, in variet Sayles on TV, an interview with Patrick Goldstein, in Interview New York), 17 June 1996. Rapping with John Sayles, an interview with P. Nechak,in Low-budget Operator Who Has a Wealth of Creativity to Draw ilmmaker: The Magazine of Independent Film (Los Angeles) On, an interview with David robinson, in The Times (london) July/August 1996 29 August 1991. Classified Sayles, an interview with Geoff Andrew, in Time Out reening the disenfranchised an interview with Alan Hunter, in ith John Sayles: Apollo 13: Rewriting Where the Hope Is, an interview with Gary Crowdus and Leonard Creative Screenwriting(Washington, D.C. ) Summer 1996 uart, in Cineaste(New nn Sayles Walking Alone, an interview with Leslie Felperin, in S'il y a un espoir, il est dans la fusion, an interview with Michael Sight and Sound (London), September 1996. Henry, in Positif(Paris), November 1992 Borders and Boundaries: Lone Star. an interview with Dennis John Sayles's Committed Cinema, an interview with Harlan West and Joan M. West, in Cineaste(New York ) December 1996 Jacobson, in Interview(New York), April 1993. Zoom(Zurich), April 1997
DIRECTORS, 4 SAYLES th EDITION 869 John Sayles (right) with Chris Cooper Interview with Richard Laermer, in Films in Review (New York), February 1985. ‘‘Dialogue on Film: John Sayles,’’ in American Film (Washington, D.C.), May 1986. Interview with Pat Aufderheide, in Cineaste (New York), vol. 15, no. 4, 1987. ‘‘Color Bars,’’ in American Film (Los Angeles), vol. 13, no. 6, April 1988. ‘‘Sayles on TV,’’ an interview with Patrick Goldstein, in Interview (New York), March 1990. ‘‘Low-budget Operator Who Has a Wealth of Creativity to Draw On,’’ an interview with David Robinson, in The Times (London), 29 August 1991. ‘‘Screening the Disenfranchised,’’ an interview with Alan Hunter, in Impact (London), October 1991. ‘‘Where the Hope Is,’’ an interview with Gary Crowdus and Leonard Quart, in Cineaste (New York), December 1991. ‘‘S’il y a un espoir, il est dans la fusion,’’ an interview with Michael Henry, in Positif (Paris), November 1992. ‘‘John Sayles’s Committed Cinema,’’ an interview with Harlan Jacobson, in Interview (New York), April 1993. ‘‘Sayles Talk,’’ an interview with Trevor Johnston, in Sight and Sound (London), September 1993. Interview in American Cinematographer (Los Angeles), February 1995. ‘‘‘I Don’t Want to Blow Anything by People,’’’ an interview with Gavin Smith, in Film Comment (New York), May-June 1996. Interview with Brooke Comer, in American Cinematographer (Los Angeles), June 1996. ‘‘Sayles-manship,’’ an interview with Max Alexander, in Variety (New York), 17 June 1996. ‘‘Rapping with John Sayles,’’ an interview with P. Nechak, in Filmmaker: The Magazine of Independent Film (Los Angeles), July/August 1996. ‘‘Classified Sayles,’’ an interview with Geoff Andrew, in Time Out (London), 2 October 1996. ‘‘Interview with John Sayles: Apollo 13: Rewriting History,’’ in Creative Screenwriting (Washington, D.C.), Summer 1996. ‘‘John Sayles Walking Alone,’’ an interview with Leslie Felperin, in Sight and Sound (London), September 1996. ‘‘Borders and Boundaries: Lone Star,’’ an interview with Dennis West and Joan M. West, in Cineaste (New York), December 1996. Zoom (Zürich), April 1997
SAYLES DIRECTORS, 4 EDItION On Sayles: books- No other American director has so successfully straddled both Hollywood and independent filmmaking as John Sayles. While his k, John Sayles, Filmmaker: A Critical Study of the fellow independents have tended to restrict themselves either in terms Writer-Director: With a Filmography and biblia of audience (Jim Jarmusch, Henry Jaglom)or creative scope(Woody terson north carolina 2000. Allen), Sayles has continued to make highly individual, idiosyncratic Molyneaux, Gerry, John Sayles, Los Angeles, 2000 films of increasingly ambitious range, aimed firmly at a mainstream audience, without compromising his integrity or his radical views. On SAYLES: articles- Even before launching out as a director, Sayles had established his reputation both as a novelist and as a provider of witty, literate scripts Levine,H,"Features for under a Million: John Sayles, "in Millime. for genre movies-Alligator, The Howling, The Lady in Red--into ter(New York), February 1982 whose conventions he deftly introduced sharp touches of political Osborne, David, "John Sayles: from Hoboken to Hollywood-and allegory. His own films, though, have steered clear of generic Back, in American Film(Washington, D.C.), October 1982. formulae, remaining (in subject matter as in treatment) fresh and Milligan, P,""Sayles Management, in Film Directions(London), quirkily unpredictable. The first of them, The Return of the secaucus Summer 1984 Seven, observed the reunion of a bunch of ex-1960s radicals with an Valen,M, "John Sayles, "in FiIms and Filming(London), Septem- affection, and a relaxed humour, that Kasdan's glossier treatment in ber 1984 The Big Chill never quite matched. There was a realism there. Vecsey, George, "John Sayles Mines the Coal Wars, " in New York Roger Corman noted, " which more money might have obscured. Times. 23 August 1987. The film picked up several awards and rapidly became a cult Fishbein, Leslie, John Sayles Matewan: Violence and Nostalgia favourite in Film and History(Newark, New Jersey ), vol. 18, no. 3, 1988 Secaucus, for all its small-scale subject and slightly shaggy charm, Isaacs, Neil D, " John Sayles and the Fictional Origin of Matewan, established the priorities of all Sayles's work to date: in his own in Literature/Film Quarterly(Salisbury, Maryland), vol. 16, words, "the acting, and believing in the characters and caring about no.4,1988 them. His films, situated (as Pat Aufderheide put it)"at the Lardner, Ring, Jr,"Foul Ball, in American Film(Los Angeles), intersection of culture and politics, favour ensemble playing over l.13,no.9,1988 star performances, communication over sensation, and the explora- Newman, Kim, Red Sayles in the Sunset, in Ciry Limits(London ), tion of character and ideas over pictorial values or technical bravura. I don't regard anything I do as art. Thats a foreign world to me. Wilson, David.""Of Anarchists and Alligators,'in Monthly Film I regard it as a conversation. Very often in a conversation, you tell Bulletin(London), June 1989 a story to illustrate something you think or feel, Sayles has stated Rose, Cynthia, The Urbane Guerilla, in Independent(London), 24 Even so, Sayles's work has developed steadily in terms of visual August 1990 as well as dramatic complexity. His early films, such as Secaucus and Davis, Thulani, ""Blue-Collar Auteur, "in American Film(Los Ange- Lianna, a sympathetic account of a married woman awakening to her 991 lesbian nature, were criticised in some quarters for their static Andrew, Geoff, " "Sayles Talk, in Time Out(London), 23 Octo- work. Sayles, while readily conceding his lack of technical ber 1991 experience, pointed out that""Fluid camera work takes money. Unless Malcolm, Derek, "Why Sayles Refuses to Sell Out, in Guardian it's an action movie, why cut away from good actors? More ondon), 12 November 1991 recently, however, from Matewan onwards, he has adopted a more Thompson, Ben, ""Sex, Lies, and Urban Renewal, in New Statesman sophisticated and even elegant shooting style, though Society(London), 15 November 1991. expense of the story. The long, intricate tracking shots of City of Hope Grogan, Johnny, True Saylesmanship, in Film ireland (Dublin), map out social connections and tensions as graphically as anything in April/May 1993 Ophuls; while in Matewan scenes of nocturnal wood-smoky encamp Sarris, Andrew, " "Baby It's You: An Honest Man Becomes a True ments in the Appalachian foothills, shot by Haskell Wexler in dark, Filmmaker, in Film Comment(New York), May/June 1993 grainy tones, recall elements of late Ford-Wagonmaster, say, or The Jackson, Kevin, "Making Movies against the Tide, in Independent Horse Soldiers. Not that Sayles(unlike his"movie brat"contempo- London), 19 June 1993 raries)is interested in strewing his pictures with all Charity, Tom, ""Sayles Pitch, " in Time Out(London), 25 August 1993. references. "I want people to leave the theater thinking about their Gritten, David, Hollywood? Not for Me, Thanks, in Daily Tele- own lives, not about other movies, he noted. His work draws its graph(London), 30 August 1993 resonance from his social conc from his sense of character Francke, Lizzie, Passion Player, in Guardian(London), 3 Septem a product of historical and cultural influences, from his acute ear for dialogue and his insight into the political process. The mismatched Thompson, Cliff, The Brother from Another Race: Black Charac- young couple of Baby It's You are no less constrained by the pressures ters in the Films of John Sayles, in Cineaste(New York), of their class and environment(small-town 1960s New Jersey)than December 1996 the West Virginian miners of Matewan, the baseball professionals of Schnelle, Frank, ""Schatten der Vergangenheit, in EPD Film(Frank Eight Men Out, or the hostile urban factions of City of Hope. But Sayles is no rigid behaviourist. The two women in Passion Biskind, P, ""The Sweet Hell of Success, in Premiere(Boulder), Fish, both maimed by life and thrown together in prickly proximity. October 1997 contrive to surmount their backgrounds and prejudices and reach a tentative friendship. Ethnic and social conditioning are powerful influences, but not absolutes. ""Blood only means what you let
SAYLES DIRECTORS, 4th EDITION 870 On SAYLES: books— Ryan, Jack, John Sayles, Filmmaker: A Critical Study of the Independent Writer-Director: With a Filmography and Bibliography, Jefferson, North Carolina, 2000. Molyneaux, Gerry, John Sayles, Los Angeles, 2000. On SAYLES: articles— Levine, H., ‘‘Features for under a Million: John Sayles,’’ in Millimeter (New York), February 1982. Osborne, David, ‘‘John Sayles: from Hoboken to Hollywood—and Back,’’ in American Film (Washington, D.C.), October 1982. Milligan, P., ‘‘Sayles Management,’’ in Film Directions (London), Summer 1984. Valen, M., ‘‘John Sayles,’’ in Films and Filming (London), September 1984. Vecsey, George, ‘‘John Sayles Mines the Coal Wars,’’ in New York Times, 23 August 1987. Fishbein, Leslie, ‘‘John Sayles’ Matewan: Violence and Nostalgia,’’ in Film and History (Newark, New Jersey), vol. 18, no. 3, 1988. Isaacs, Neil D., ‘‘John Sayles and the Fictional Origin of Matewan,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 16, no. 4, 1988. Lardner, Ring, Jr., ‘‘Foul Ball,’’ in American Film (Los Angeles), vol. 13, no. 9, 1988. Newman, Kim, ‘‘Red Sayles in the Sunset,’’ in City Limits (London), 13 April 1989. Wilson, David, ‘‘Of Anarchists and Alligators’’ in Monthly Film Bulletin (London), June 1989. Rose, Cynthia, ‘‘The Urbane Guerilla,’’ in Independent (London), 24 August 1990. Davis, Thulani, ‘‘Blue-Collar Auteur,’’ in American Film (Los Angeles), June 1991. Andrew, Geoff, ‘‘Sayles Talk,’’ in Time Out (London), 23 October 1991. Malcolm, Derek, ‘‘Why Sayles Refuses to Sell Out,’’ in Guardian (London), 12 November 1991. Thompson, Ben, ‘‘Sex, Lies, and Urban Renewal,’’ in New Statesman & Society (London), 15 November 1991. Grogan, Johnny, ‘‘True Saylesmanship,’’ in Film Ireland (Dublin), April/May 1993. Sarris, Andrew, ‘‘Baby It’s You: An Honest Man Becomes a True Filmmaker,’’ in Film Comment (New York), May/June 1993. Jackson, Kevin, ‘‘Making Movies against the Tide,’’ in Independent (London), 19 June 1993. Charity, Tom, ‘‘Sayles Pitch,’’ in Time Out (London), 25 August 1993. Gritten, David, ‘‘Hollywood? Not for Me, Thanks,’’ in Daily Telegraph (London), 30 August 1993. Francke, Lizzie, ‘‘Passion Player,’’ in Guardian (London), 3 September 1993. Thompson, Cliff, ‘‘The Brother from Another Race: Black Characters in the Films of John Sayles,’’ in Cineaste (New York), December 1996. Schnelle, Frank, ‘‘Schatten der Vergangenheit,’’ in EPD Film (Frankfurt), March 1997. Biskind, P., ‘‘The Sweet Hell of Success,’’ in Premiere (Boulder), October 1997. *** No other American director has so successfully straddled both Hollywood and independent filmmaking as John Sayles. While his fellow independents have tended to restrict themselves either in terms of audience (Jim Jarmusch, Henry Jaglom) or creative scope (Woody Allen), Sayles has continued to make highly individual, idiosyncratic films of increasingly ambitious range, aimed firmly at a mainstream audience, without compromising his integrity or his radical views. Even before launching out as a director, Sayles had established his reputation both as a novelist and as a provider of witty, literate scripts for genre movies—Alligator, The Howling, The Lady in Red—into whose conventions he deftly introduced sharp touches of political allegory. His own films, though, have steered clear of generic formulae, remaining (in subject matter as in treatment) fresh and quirkily unpredictable. The first of them, The Return of the Secaucus Seven, observed the reunion of a bunch of ex-1960s radicals with an affection, and a relaxed humour, that Kasdan’s glossier treatment in The Big Chill never quite matched. ‘‘There was a realism there,’’ Roger Corman noted, ‘‘which more money might have obscured.’’ The film picked up several awards and rapidly became a cult favourite. Secaucus, for all its small-scale subject and slightly shaggy charm, established the priorities of all Sayles’s work to date: in his own words, ‘‘the acting, and believing in the characters and caring about them.’’ His films, situated (as Pat Aufderheide put it) ‘‘at the intersection of culture and politics,’’ favour ensemble playing over star performances, communication over sensation, and the exploration of character and ideas over pictorial values or technical bravura. ‘‘I don’t regard anything I do as art. That’s a foreign world to me. I regard it as a conversation. Very often in a conversation, you tell a story to illustrate something you think or feel,’’ Sayles has stated. Even so, Sayles’s work has developed steadily in terms of visual as well as dramatic complexity. His early films, such as Secaucus and Lianna, a sympathetic account of a married woman awakening to her lesbian nature, were criticised in some quarters for their static camerawork. Sayles, while readily conceding his lack of technical experience, pointed out that ‘‘Fluid camera work takes money. Unless it’s an action movie, why cut away from good actors?’’ More recently, however, from Matewan onwards, he has adopted a more sophisticated and even elegant shooting style, though never at the expense of the story. The long, intricate tracking shots of City of Hope map out social connections and tensions as graphically as anything in Ophüls; while in Matewan scenes of nocturnal wood-smoky encampments in the Appalachian foothills, shot by Haskell Wexler in dark, grainy tones, recall elements of late Ford—Wagonmaster, say, or The Horse Soldiers. Not that Sayles (unlike his ‘‘movie brat’’ contemporaries) is interested in strewing his pictures with allusive film-buff references. ‘‘I want people to leave the theater thinking about their own lives, not about other movies,’’ he noted. His work draws its resonance from his social concerns, from his sense of character as a product of historical and cultural influences, from his acute ear for dialogue and his insight into the political process. The mismatched young couple of Baby It’s You are no less constrained by the pressures of their class and environment (small-town 1960s New Jersey) than the West Virginian miners of Matewan, the baseball professionals of Eight Men Out, or the hostile urban factions of City of Hope. But Sayles is no rigid behaviourist. The two women in Passion Fish, both maimed by life and thrown together in prickly proximity, contrive to surmount their backgrounds and prejudices and reach a tentative friendship. Ethnic and social conditioning are powerful influences, but not absolutes. ‘‘Blood only means what you let it,’’
DIRECTORS, 4 EDITION SCHAFFNER says a character in Lone Star, and the children in The Secret of Roan 1973 Papillon(+ co-pr) Inish buck their family histor er determination 1977 slands in the Stream In his work as a director, Sayles has steadily extended and 78 The Boys from Brazil deepened his personal vision, always ready to take risks and strike out 1981 Sphinx(+ exec pr) in new directions. Lone Star, his most accomplished film to date, is 1982 also his most narratively complex, interweaving a dozen storylines 987 Lion and subplots. In recent years he's widened his geographical scope 1989 Welcome Home beyond the United States, taking in the west coast of Ireland for the mystical fable of Roan Inish, and Latin America for Men with Guns- which he shot in Spanish to get authentic performances from his ispanic cast. Limbo, with its unexpected midway plot-switch and Publications enigmatic ending, is his most dramatically audacious film yet. It was also the first time in sixteen years that Sayles had made By SCHAFFNER: book- studio picture, something he'd renounced after the horrendous experience of making Baby, It's You for Paramount. Limbo was Worthing Miner: Interviewed by franklin J Schaffner, Metuchen financed by Sony, but Sayles still secured his regular terms- New Jersey, 1985 production control, casting control, and final cut. The fact is, he explained, I've got to the point where I don't need to make movies.. Why give up a year of your life for a film you are going to By SCHAFFNER: articles- apologise for and you really dont feel is yours? ""Sayles's films are, unmistakably, his. With his integrity established beyond question, Interview with Gerald Pratley, in Cineaste(New York), Summer 1969 and his status as doyen of American independents now secure, he can Interview with R Feiden, in Inter/View(New York), March 1972. afford to shrug at studio backing. with or without it, his best work Chronicler of Power. an interview with Kathe Geist. in Film may yet be to come. Comment(New York), September/October 1972 Interview with R. Appelbaum, in Films and Filming (London), -Philip Kemp February 1979 Interview with D. Castelli, in Films Illustrated London), May 1979 SCHAffNER. Franklin j Casablanca, no. 23, November 1981 On SCHAFFNER: book- Nationality: American. Born: Tokyo, 30 May 1920. Education Franklin and Marshal College; studied law at Columbia University Military Service: Served in U.S. Navy, 1942-46. Family: Ma Kim, Erwin, Franklin J. Schaffner. Metuchen, New Jersey, 1986. Helen Jean Gilchrist, 1948, two daughters. Career: Assistant direc tor, March of Time series, late 1940s: television director for CBS On SCHAFFNER: articles- 1949-62, work included Studio One, Ford Theater, and playhouse 0; with Worthington Miner, George Roy Hill, and Fielder Cook, Wilson, David, Franklin Schaffner, in Sight and Sound (London), formed"Unit Four' production company, 1955: directed Advise and pring 1966 Consent on Broadway, 1961; signed three-picture contract with 20th Sarris, Andrew, Director of the Month-Franklin Schaffner: The Century-Fox and directed first feature, A Summer World(incom- Panoply of Power, in Show(Hollywood), April 1970 plete), 1961; television counselor to President Kennedy, 1961-63; Lightman, Herb. " On Location with Islands in the Strea. in president, Gilchrist Productions, 1962-68; president, Franklin Schaffner American Cinematographer (Los Angeles), November 1976 Productions, from 1969; president, Directors Guild of America "Franklin J Schaffner, in Kosmorama( Copenhagen), Autumn 1977. 1987-89. Awards: Three Emmy Awards: Oscar for Best Director, Cook. B. . The War between the Writers and the Directors: Part II Directors Guild Award, for Patton, 1970. Died: Of cancer, in The Directors, 'in American Film(Washington, D. C ) June 1979 Monica, California, 2 July 1989 TV to Film: A History, a Map, and a Family Tree, in Monthly Film Bulletin (London), February 1983 Countryman, J, "Jerry Goldsmith and Franklin Films as director: of Collaboration, in Cue Street(Hollywood), voL. 5, no. 2, April 1988. 961 A Summer World (incomplete) 1963 The Stripper( Woman of Summer) Obituary, in Variety(New York), 5 July 1989. 1964 The Best Man Obituary, in EPD Film(Frankfurt), vol. 6. no. 8, August 1989 1965 The War Lord 967 The Double Man(+ role) 1968 Planet of the apes 1970 Patton(Parton-Lust for Glory; Patton: A Salute to a Rebel) Franklin J. Schaffner has often been referred to as an 'actors 1971 Nicholas and Alexandra(+ pr rector. A former actor himself, he spent over a decade directing 871
DIRECTORS, 4 SCHAFFNER th EDITION 871 says a character in Lone Star, and the children in The Secret of Roan Inish buck their family history through sheer determination. In his work as a director, Sayles has steadily extended and deepened his personal vision, always ready to take risks and strike out in new directions. Lone Star, his most accomplished film to date, is also his most narratively complex, interweaving a dozen storylines and subplots. In recent years he’s widened his geographical scope beyond the United States, taking in the west coast of Ireland for the mystical fable of Roan Inish, and Latin America for Men with Guns— which he shot in Spanish to get authentic performances from his Hispanic cast. Limbo, with its unexpected midway plot-switch and enigmatic ending, is his most dramatically audacious film yet. It was also the first time in sixteen years that Sayles had made a studio picture, something he’d renounced after the horrendous experience of making Baby, It’s You for Paramount. Limbo was financed by Sony, but Sayles still secured his regular terms— production control, casting control, and final cut. ‘‘The fact is,’’ he explained, ‘‘I’ve got to the point where I don’t need to make movies. . . . Why give up a year of your life for a film you are going to apologise for and you really don’t feel is yours?’’ Sayles’s films are, unmistakably, his. With his integrity established beyond question, and his status as doyen of American independents now secure, he can afford to shrug at studio backing. With or without it, his best work may yet be to come. —Philip Kemp SCHAFFNER, Franklin J. Nationality: American. Born: Tokyo, 30 May 1920. Education: Franklin and Marshal College; studied law at Columbia University. Military Service: Served in U.S. Navy, 1942–46. Family: Married Helen Jean Gilchrist, 1948, two daughters. Career: Assistant director, March of Time series, late 1940s; television director for CBS, 1949–62, work included Studio One, Ford Theater, and Playhouse 90; with Worthington Miner, George Roy Hill, and Fielder Cook, formed ‘‘Unit Four’’ production company, 1955; directed Advise and Consent on Broadway, 1961; signed three-picture contract with 20th Century-Fox and directed first feature, A Summer World (incomplete), 1961; television counselor to President Kennedy, 1961–63; president, Gilchrist Productions, 1962–68; president, Franklin Schaffner Productions, from 1969; president, Directors Guild of America, 1987–89. Awards: Three Emmy Awards; Oscar for Best Director, and Directors Guild Award, for Patton, 1970. Died: Of cancer, in Santa Monica, California, 2 July 1989. Films as Director: 1961 A Summer World (incomplete) 1963 The Stripper (Woman of Summer) 1964 The Best Man 1965 The War Lord 1967 The Double Man (+ role) 1968 Planet of the Apes 1970 Patton (Patton—Lust for Glory; Patton: A Salute to a Rebel) 1971 Nicholas and Alexandra (+ pr) 1973 Papillon (+ co-pr) 1977 Islands in the Stream 1978 The Boys from Brazil 1981 Sphinx (+ exec pr) 1982 Yes, Giorgio 1987 Lionheart 1989 Welcome Home Publications By SCHAFFNER: book— Worthing Miner: Interviewed by Franklin J. Schaffner, Metuchen, New Jersey, 1985. By SCHAFFNER: articles— Interview with Gerald Pratley, in Cineaste (New York), Summer 1969. Interview with R. Feiden, in Inter/View (New York), March 1972. ‘‘Chronicler of Power,’’ an interview with Kathe Geist, in Film Comment (New York), September/October 1972. Interview with R. Appelbaum, in Films and Filming (London), February 1979. Interview with D. Castelli, in Films Illustrated (London), May 1979. ‘‘Sí, Giorgio/Pavarotti,’’ interview with Eugenio Amaya, in Casablanca, no. 23, November 1981. On SCHAFFNER: book— Kim, Erwin, Franklin J. Schaffner, Metuchen, New Jersey, 1986. On SCHAFFNER: articles— Wilson, David, ‘‘Franklin Schaffner,’’ in Sight and Sound (London), Spring 1966. Sarris, Andrew, ‘‘Director of the Month—Franklin Schaffner: The Panoply of Power,’’ in Show (Hollywood), April 1970. Lightman, Herb, ‘‘On Location with Islands in the Stream,’’ in American Cinematographer (Los Angeles), November 1976. ‘‘Franklin J. Schaffner,’’ in Kosmorama (Copenhagen), Autumn 1977. Cook, B., ‘‘The War between the Writers and the Directors: Part II: The Directors,’’ in American Film (Washington, D.C.), June 1979. ‘‘TV to Film: A History, a Map, and a Family Tree,’’ in Monthly Film Bulletin (London), February 1983. Countrymann, J., ‘‘Jerry Goldsmith and Franklin J. Schaffner: A Study of Collaboration,’’ in Cue Street (Hollywood), vol. 5, no. 2, April 1988. Obituary, in Variety (New York), 5 July 1989. Obituary, in EPD Film (Frankfurt), vol. 6, no. 8, August 1989. *** Franklin J. Schaffner has often been referred to as an ‘‘actors’ director.’’ A former actor himself, he spent over a decade directing
SCHAFFNER DIRECTORS, 4 EDItION Franklin j. Schaffne television drama before making his first film. This experience proved studio. The directors next work was The Double Man, an average spy invaluable when he arrived in Hollywood. All his films starred well- drama. His first big financial success was Planet of the Apes, in which established professionals such as Fonda, Heston, Brynner, Scott, he had to produce realistic performances from actors in monkey suits. Hoffman. Peck and Olivier. Handled by another director, it could easily have been turned into Schaffner's first film, The Stripper, was based on William Inge's a farce, but Schaffner's craftsmanship made it a science fiction satire. play A Loss of Roses. Producer Jerry Wald died while it was being In 1970 Schaffner directed George C. Scott in the role of general de, and after completion the film was tak Patton. Twenty-seven years earlier Schaffner himself had taken part hands and re-edited. As a result the character of the"stripper in the landings in Sicily under Patton. The film was shot in 70mm, but played by Joanne Woodward, was sadly lacking in contrast. Schaffner's he insisted on cutting it in 35mm to avoid being influenced by the xperience w cope of 70mm. Scotts performance was widely praised, but he cial when he directed his second film, The Best Man, a story of refused an Academy Award(Schaffner accepted his) contenders for the presidential nomination at a political convention in It was his interest in history that first attracted Schaffner to Los Angeles Set mainly in hotel rooms and corridors, it could have Nicholas and Alexandra. Here he told what was basically become very static But Schaffner accepted the challenge and turned story of two people, but two people surrounded by the overflowing retinue of the court and the boundless expanse of the countryside After the intimacy of The Best Man came the vastness of The War Schaffner used the contrast to great effect, and the film was nom Lord. A medieval costume picture, the film was a complete change for nated for an Oscar Schaffner, but he succeeded in capturing the visual splendor of the Papillon is the only film which Schaffner directed in sequence utdoor sequences-particularly in the first few minutes-and the and this was not by choice. Dalton Trumbo was rewriting the script as excitement and gusto of the battle scenes. Although an"action"film, the film was being shot, often just managing to keep up with the it had a literate script-but once again Schaffner's film was cut by the production. This film marked the second time that Schaffner had
SCHAFFNER DIRECTORS, 4th EDITION 872 Franklin J. Schaffner television drama before making his first film. This experience proved invaluable when he arrived in Hollywood. All his films starred wellestablished professionals such as Fonda, Heston, Brynner, Scott, Hoffman, Peck, and Olivier. Schaffner’s first film, The Stripper, was based on William Inge’s play A Loss of Roses. Producer Jerry Wald died while it was being made, and after completion the film was taken out of Schaffner’s hands and re-edited. As a result the character of the ‘‘stripper’’, played by Joanne Woodward, was sadly lacking in contrast. Schaffner’s experience working on political television programs proved benefi- cial when he directed his second film, The Best Man, a story of two contenders for the presidential nomination at a political convention in Los Angeles. Set mainly in hotel rooms and corridors, it could have become very static. But Schaffner accepted the challenge and turned out a compelling drama. After the intimacy of The Best Man came the vastness of The War Lord. A medieval costume picture, the film was a complete change for Schaffner, but he succeeded in capturing the visual splendor of the outdoor sequences—particularly in the first few minutes—and the excitement and gusto of the battle scenes. Although an ‘‘action’’ film, it had a literate script—but once again Schaffner’s film was cut by the studio. The director’s next work was The Double Man, an average spy drama. His first big financial success was Planet of the Apes, in which he had to produce realistic performances from actors in monkey suits. Handled by another director, it could easily have been turned into a farce, but Schaffner’s craftsmanship made it a science fiction satire. In 1970 Schaffner directed George C. Scott in the role of General Patton. Twenty-seven years earlier Schaffner himself had taken part in the landings in Sicily under Patton. The film was shot in 70mm, but he insisted on cutting it in 35mm to avoid being influenced by the scope of 70mm. Scott’s performance was widely praised, but he refused an Academy Award (Schaffner accepted his). It was his interest in history that first attracted Schaffner to Nicholas and Alexandra. Here he told what was basically an intimate story of two people, but two people surrounded by the overflowing retinue of the court and the boundless expanse of the countryside. Schaffner used the contrast to great effect, and the film was nominated for an Oscar. Papillon is the only film which Schaffner directed in sequence, and this was not by choice. Dalton Trumbo was rewriting the script as the film was being shot, often just managing to keep up with the production. This film marked the second time that Schaffner had
DIRECTORS, 4 EDITION SCHEPISI worked with cinematographer Fred Koenekamp, and they were 1993 Six Degrees of Separation(+ co-pr) camed again for his next feature Islands in the Stream. This time he 1994 /.0.(+ co-pr) faced the problem of space and isolation, having to fill the large 1997 Fierce Creatures creen for a long time with just one man. He also found it necessary to 2001 Last Orders se two cameras for some of the action sequences, something which he never did if he could avoid it. Several studios turned down The Boys from Brazil because it was impossible to cast, but Schaffner Publications nought it would work if he cast against type. So Gregory Peck, always known as a"good guy, played Mengele--the German By SCHEPisI: articles- doctor intent on producing clones of Hitler. Olivier, who had earlier played a German war criminal in Marathon Man, was the Jewish Interview in Cinema Papers(Melbourne), January 1978 doctor trying to track down the Nazi. In the early 1980s Schaffner "Le sauvage qui n'avait pas ete enfant, " an interview with V. Amiel made Sphinx, an adventure story set amongst the pyramids, and Yes, nd others, in Positif(Paris), February 1983 Giorgio, his first"musical, with Luciano Pavarotti Interview with M. Magill in Films in Review(New York), Janu- Schaffner had a reputation for getting the best out of his actors and ary1984. coping well with intimate dramas. Yet he also achieved success with Interview with B. Lewis in Films and Filming(London),Decem- d has been compared with David Lean because of ber 1985 mpositions and the breadth of his dramatic power nterview in Screen International (London), 4 January 1986. He reveled about men struggling to achieve a certain goal Dialogue on Film: Fred Schepisi, in American Film(Washington A craftsman, he did his homework and prepared each scene before D. C ) July/August 1987. The Making of Evil Angels, interview with P Hawker in Cinema Papers(Melbourne), November 1988 -Colin williams Fred Schepisi, interview with S. Murray in Cinema Papers SCHEPISI. Fred On SCHEPISI: books- Tulloch, John, Australian Cinema: Industry, Narrative, and Mean- Nationality: Australian Born: Frederic Alan Schepisi in Melbourne, ing, Sydney and London, 1982 Victoria, 26 December 1939. Education: Briefly attended seminary Hall, Sandra, The New Australian Cinema in Revi school. Family: Married 1) Joan Ford, 1960, four children; 2)casting Moran, Albert, and Tom O'Regan, editors, An Australian Film director Rhonda Finlayson, 1973, two children; 3)Mary Rubin, 1984 Reader, Sydney, 1985 one child. Career: Director, producer, and writer at Carden Advertis- Mathews, Sue, 35mm Dreams: Conversations with Five Directors ing, Melbourne, from 1955; television production manager, Paton about the Australian Film Revival. Ringwood. Australia. 1987. Advertising Service, Melbourne 1961-64: Victorian manager of McFarlane, Brian, Australian Cinema 1970-85, London, 1987 Cinesound Productions, Melbourne, 1964-65: managing director of The Film House, Melbourne, making advertising shorts and docu On SCHEPISI: articles- mentaries, 1965-79(chairman from 1979): first feature, The Devils Playground, won six Australian Film Institute awards, 1976: moved Bromby, Robin, "Test for Australia, "in Sight and Sound (London), to United States, 1979; returned to Australia to make A Cry in the Spring 1979. Dark. 1988: Governor of the australian Film Institute. Awards: best Stratton, D,"Man of Plenty, in Cinema Papers(Melbourne), Director, Australian Film Awards, for The Devils Playground, 1976 March 1986 Address: P O. Box 317, South Melbourne VIC 3205, Australia. Taitz, N, "Fred Schepisi Puts Gossip on Trial, in New York Times, Agent: c/o Sam Cohn, International Creative Management, 40 w 6 November 1988 S7th Street, New York, NY 10019, U.S.A. Lewis, B article in Films& Filming(London), May 1989 D), November 1990. Powers. P.R. W."'A Conversation with Bruce Smeaton in Films as director: Soundtrack/, September 1991 Koch, N,"No Tea, No Sympathy, in New York Times, 23 1970 ty(short) A 1992 973 iest episode of libido Schiff, Stephen, "A Cinematic Gallant, in New Yorker, 20 Decem- il's Playground ( sc, pr) 1978 The Chant of Jimmie Blacksmith(+ sc, pr) Kelleher, E, ""Schepisi Expands Varied Career via Six Degrees, in 1981 Barbarosa Film Journal(New York), January/February 1994 Segnocinema(vicenza), July/August 1995 1987 Roxanne 988 A Cry in the Dark(Guilty by Suspicion; Evil Angels) 1990 The Russia House(+ pr) More than any other director of the australian new wave, Fred 1992 Mr Baseball (+ co-pr) Schepisi reflects, in his deal-making expertise, his emphasis on
DIRECTORS, 4 SCHEPISI th EDITION 873 worked with cinematographer Fred Koenekamp, and they were teamed again for his next feature, Islands in the Stream. This time he faced the problem of space and isolation, having to fill the large screen for a long time with just one man. He also found it necessary to use two cameras for some of the action sequences, something which he never did if he could avoid it. Several studios turned down The Boys from Brazil because it was impossible to cast, but Schaffner thought it would work if he cast against type. So Gregory Peck, always known as a ‘‘good guy,’’ played Mengele—the German doctor intent on producing clones of Hitler. Olivier, who had earlier played a German war criminal in Marathon Man, was the Jewish doctor trying to track down the Nazi. In the early 1980s Schaffner made Sphinx, an adventure story set amongst the pyramids, and Yes, Giorgio, his first ‘‘musical,’’ with Luciano Pavarotti. Schaffner had a reputation for getting the best out of his actors and coping well with intimate dramas. Yet he also achieved success with large-scale epics and has been compared with David Lean because of the beauty of his compositions and the breadth of his dramatic power. He reveled in films about men struggling to achieve a certain goal. A craftsman, he did his homework and prepared each scene before arriving on the set. —Colin Williams SCHEPISI, Fred Nationality: Australian. Born: Frederic Alan Schepisi in Melbourne, Victoria, 26 December 1939. Education: Briefly attended seminary school. Family: Married 1) Joan Ford, 1960, four children; 2) casting director Rhonda Finlayson, 1973, two children; 3) Mary Rubin, 1984, one child. Career: Director, producer, and writer at Carden Advertising, Melbourne, from 1955; television production manager, Paton Advertising Service, Melbourne, 1961–64; Victorian manager of Cinesound Productions, Melbourne, 1964–65; managing director of The Film House, Melbourne, making advertising shorts and documentaries, 1965–79 (chairman from 1979); first feature, The Devil’s Playground, won six Australian Film Institute awards, 1976; moved to United States, 1979; returned to Australia to make A Cry in the Dark, 1988; Governor of the Australian Film Institute. Awards: Best Director, Australian Film Awards, for The Devil’s Playground, 1976. Address: P.O. Box 317, South Melbourne VIC 3205, Australia. Agent: c/o Sam Cohn, International Creative Management, 40 W. 57th Street, New York, NY 10019, U.S.A. Films as Director: 1970 The Party (short) 1973 ‘‘The Priest’’ episode of Libido 1976 The Devil’s Playground (+ sc, pr) 1978 The Chant of Jimmie Blacksmith (+ sc, pr) 1981 Barbarosa 1984 Iceman 1985 Plenty 1987 Roxanne 1988 A Cry in the Dark (Guilty by Suspicion; Evil Angels) 1990 The Russia House (+ pr) 1992 Mr. Baseball (+ co-pr) 1993 Six Degrees of Separation (+ co-pr) 1994 I.Q. (+ co-pr) 1997 Fierce Creatures 2001 Last Orders Publications By SCHEPISI: articles— Interview in Cinema Papers (Melbourne), January 1978. ‘‘Le sauvage qui n’avait pas été enfant,’’ an interview with V. Amiel and others, in Positif (Paris), February 1983. Interview with M. Magill in Films in Review (New York), January 1984. Interview with B. Lewis in Films and Filming (London), December 1985. Interview in Screen International (London), 4 January 1986. ‘‘Dialogue on Film: Fred Schepisi,’’ in American Film (Washington D.C.), July/August 1987. ‘‘The Making of Evil Angels,’’ interview with P. Hawker in Cinema Papers (Melbourne), November 1988. ‘‘Fred Schepisi,’’ interview with S. Murray in Cinema Papers (Melbourne), August 1990. On SCHEPISI: books— Tulloch, John, Australian Cinema: Industry, Narrative, and Meaning, Sydney and London, 1982. Hall, Sandra, The New Australian Cinema in Review, Adelaide, 1985. Moran, Albert, and Tom O’Regan, editors, An Australian Film Reader, Sydney, 1985. Mathews, Sue, 35mm Dreams: Conversations with Five Directors about the Australian Film Revival, Ringwood, Australia, 1987. McFarlane, Brian, Australian Cinema 1970–85, London, 1987. On SCHEPISI: articles— Bromby, Robin, ‘‘Test for Australia,’’ in Sight and Sound (London), Spring 1979. Stratton, D., ‘‘Man of Plenty,’’ in Cinema Papers (Melbourne), March 1986. Taitz, N., ‘‘Fred Schepisi Puts Gossip on Trial,’’ in New York Times, 6 November 1988. Lewis, B., article in Films & Filming (London), May 1989. Matthews, T., article in Box Office (Hollywood), November 1990. Powers, P.R.W., ‘‘A Conversation with Bruce Smeaton,’’ in Soundtrack!, September 1991. Koch, N., ‘‘No Tea, No Sympathy,’’ in New York Times, 23 August 1992. Schiff, Stephen, ‘‘A Cinematic Gallant,’’ in New Yorker, 20 December 1993. Kelleher, E., ‘‘Schepisi Expands Varied Career via Six Degrees,’’ in Film Journal (New York), January/February 1994. Segnocinema (Vicenza), July/August 1995. *** More than any other director of the Australian new wave, Fred Schepisi reflects, in his deal-making expertise, his emphasis on