Ebook Kazan on Directing, by Elia Kazan
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Kazan on Directing, by Elia Kazan
Ebook Kazan on Directing, by Elia Kazan
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Elia Kazan was the twentieth century’s most celebrated director of both stage and screen, and this monumental, revelatory book shows us the master at work. Kazan’s list of Broadway and Hollywood successes—A Streetcar Named Desire, Death of a Salesman, On the Waterfront, to name a few—is a testament to his profound impact on the art of directing. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, reveals Kazan’s method: how he uncovered the “spine,” or core, of each script; how he analyzed each piece in terms of his own experience; and how he determined the specifics of his production. And in the final section, “The Pleasures of Directing”—written during Kazan’s final years—he becomes a wise old pro offering advice and insight for budding artists, writers, actors, and directors.
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Product details
Paperback: 368 pages
Publisher: Vintage; unknown edition (January 12, 2010)
Language: English
ISBN-10: 0307277046
ISBN-13: 978-0307277046
Product Dimensions:
5.2 x 0.7 x 8 inches
Shipping Weight: 9.9 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
25 customer reviews
Amazon Best Sellers Rank:
#340,735 in Books (See Top 100 in Books)
Rarely has a book on film said so much in so little space. First, it is mostly Kazan's voice we hear. Secondly, the book is finely organized, offering editorial comments and questions,letters from Kazan countering with his lively answers to these and elaborating on his views, separate sections as director of stage and film (the book actually comes in two parts),and the most fascinating articles/speeches Kazan ever gave, as, for instance, an address by Kazan delivered ar Wesleyan University in 1973, which covers just about everything about directing under the sun. Kazan is a "no holds barred" commentator of his own work, relating his experiences in life and in film in sometimes scorching language, managing to be entertaing and completely outspoken. There are hidden treasures everywhere about filmmaking that will make the film buff and filmmaker alike salivate with pleasure. Not to forget here a foreward by John Lahr,a Preface by Martin Scorsese, and an illuminating Introduction by Robert Cornfield, which contains the best remarks on "method acting" I have ever seen. All in all, a good read, worth all the pennies you spend on it.
The Book is amazing! for a number of reasons: first of all the great author. Despite some controversy over 1952's affair Kazan remains one of the best American directors ever... Just like another great director Sidney Lumet comments on the book - reading it really feels like having a deep interesting conversation with the author, that alone is one hell of a rare treat for books of this type. It is amazing and very useful how Kazan treats material a play or a screenplay, his amazing quest for certainty and precision, how he breaks the material down to find a basic idea - a spine, and how he explains the importance of finding this spine and how all the rest of the things like acting, lighting and generally everything comes from and should be connected to this "Spine". The other amazingly important bit about the author and this book is that he is very critical first of all to himself. He would sit and watch a show in a theater and think and capture it's mistakes and then analyse those and if they lead to him the director he doesn't ignore it on the contrary he goes deeper and draws the exact conclusions why and how this or that mistake has been made and how he should avoid them in the future. He is very rational, adequate and precise but at the same time amazingly passionate, he works with actors knowing each of them amazingly well for what they really are and what they are capable of. In other words he explains and shows the enormous importance of good Casting. I came across this book by watching Francis Ford Coppola's interview where he mentions this book and how the approach of Kazan in treating the material helped him create his big notebook for Godfather. He states that this notebook was so dense and full of important details for each scene that he practically didn't need a script on the set. Coppola uses the same method as Kazan for example for the scene: what the scene is about?, what he wants to express with it?, how to express it the best way? and what are the risks? and etc. this structural approach to the material is very useful both for beginner filmmakers and professionals. Book doesn't have the setups and how to do recipes it has a lot more. It gives the most important ingredient of all on how to find, formulate and then express the general idea, It gives clues on how to find the inspiration and I guess that is much more important than any instructions. This book is amazingly inspirational and passionate and at the same time superbly precise and rational - I guess the unity of these elements underlines most the significance of this book and the significance of the body of work of this great visionary who has influenced a lot of great directors such as Nicholas Ray, Sindey Lumet, Martin Scorcese, Francis Ford Coppola and many more
I thought this would be a rather pedantic and boring read. Instead, I dicovered his writing style to be excellent and engaging and found I couldn't put it down. Highly recommend this book to any aspiring director, film and/or theater. You won't regret it!
A heavy read so only for very serious directors.
Amazing (if not one of the best) book for young directors looking to amp up their skill in their craft. So glad my teacher recommended this to me! I carry it with me almost everywhere!
This was an informative book on acting and directing I encourage everyone who's an actor or director to read this
great book and transaction. many thanks!
Order this book. You won't be disappointed. It's like sitting in a directing class with the master. You get to read his personal notes and inner feelings about working with Brando, Leigh, T. Williams, A. Miller, Malden, Steiger and more! Not just memories from an older Kazan, but his thoughts while in rehearsal or on the set. Anyone who works with actors or aspires to direct, should read this wonderful book. Definitely five stars.
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