Masterclass William Friedkin
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- čas přidán 3. 03. 2021
- FR LuxFilmFest a l’honneur de présenter une Masterclass du réalisateur oscarisé William Friedkin, exclusivement réalisée pour le Festival à son domicile de Los Angeles.
Né en 1935 à Chicago, William Friedkin apprend son métier de réalisateur sur les plateaux de télévision à 17 ans. En 1971, il acquiert une renommée internationale et est salué par la critique grâce à French Connection, film noir pour lequel il reçoit l’Oscar du meilleur réalisateur. C’est avec L’exorciste (1973), l’un des films d’horreur les plus emblématiques qu’il devient mondialement célèbre. Le film lui vaut 10 nominations aux Oscar. Outre la réalisation de films cultes tels que Police fédérale Los Angeles (1985) et Le Sang du châtiment (1988), William Friedkin met également en scène des opéras depuis 1998. Ses productions de Wozzeck, La fanciulla del West ou encore Samson et Dalila ont fait le tour des opéras les plus réputés au monde.
La première Masterclass en ligne de l’histoire du Festival sera animée par Philippe Rouyer. Critique et historien de cinéma, Philippe Rouyer est membre du comité de rédaction de la revue Positif. Il est également en charge des pages cinéma du magazine Psychologies ainsi que chroniqueur régulier des émissions « Mauvais genres » sur France Culture et « Le Cercle » sur Canal+ Cinéma.
EN LuxFilmFest is pleased to present a masterclass with Academy-Award-winning director William Friedkin, exclusively for the Festival from the latter’s L.A. home.
Born in 1935 in Chicago, William Friedkin started to learn filmmaking on television sets at the age of seventeen. In 1971, he rose to international fame and critical acclaim thanks to the film noir The French Connection, for which he received the Academy Award for Best Director. But he may be best known for The Exorcist (1973), one of the most terrifying films of all time, nominated for 10 Oscars. Besides directing such iconic action thrillers as To Live and Die in L.A. (1985) and Rampage (1988), William Friedkin has also been staging operas since 1998. His productions of Wozzeck, La fanciulla del West, or Samson and Delilah have toured some of the world’s most respected opera houses.
The Festival’s first ever online masterclass will be presented by Philippe Rouyer. Film critic and historian, Philippe Rouyer works as a journalist for the French film magazine Positif and the film section of the magazine Psychologies. He is a regular panellist on “Mauvais genres” on France Culture and “Le Cercle” on Canal+ Cinéma. - Krátké a kreslené filmy
A great storyteller. RIP William Friedkin
The Exorcist is as good as Citizen Kane. Oh yeah. Mr Friedkin made the greatest
Horror Movie in the history of Cinema.
This dude was ruthless
In tribute, watch Friedkin's favorite film, Sorcerer, his hidden masterpiece on the mystery of fate.
I really like Mr Friedkin's syle of directing. He is from that great generation of filmmakers that include Coppola, Scorsese, De Palma, and Spielberg among others. He was a great visionary, and I can't image anyone else directing The Exorcist and the way that he handled that material. Bill Blatty made a great choice by picking him to translate his novel to the screen
Certainly, Jangir is not just a movie, but a new beginning in cinema and in cinema elements such as: create space The complexities of the plot Dramatization Soundtrack Adaptation Strong content Viewing Angle And diversity in the genre, which puts several genres within one genre, and genres such as psychological and parapsychological, and neo-crime tapes into one genre. It is safe to say that it is the final battle against the classic Hollywood cinema and a new beginning in the post-classical Hollywood cinema and the evolution of the genre and elements of cinema all over the world. It can be said that the film script created a new chapter in the screenwriting technique that the aftershocks of this screenwriting model can be felt so far.
Merci ! Un des plus grands réalisateurs et une belle personne.
Miss this man!
William Friedkin est passionnant à écouter et Philippe Rouyer pose de très bonnes questions. Ça fait plaisir d'entendre un critique de cinéma aussi passionné et calé.
Absolutely fascinating, realistic, & humble man! His theological & philosophical grounding of life are deep & real. 💚
this guy is approaching 87 and talks so eloquent still trying to meet him before his passing
Did you had the chance to meet him?
@@Hritik9000 sadly not ! Heard he passed recently !
@@jayyavid5363 yeah it was sad to hear the news.
The newer, extended directors cut of “The Exorcist” is my favourite film of ALL time. I remember being scared out of my wits in 1974, at 13 years old, having sneeked into the cinema to watch The Exorcist. It stayed with me for years afterwards.
The best director to create cinamtic tension...I have never seen such bold guy who can show NY City gay club and their interim functions ...even till today.
Thankyou for uploading this, much appreciated.
When mr. Friedkin teaches a class you know you are learning from a master. Thanks for the amazing chat!
Best regards from Brazil!
Well said mate, from the UK.
@@questionitall3053 Thanks! Best regards!
Damn! It isn’t in English! Maybe one day when I feel like reading. Love me some Friedkin, RIP.
This is fantastic. If I ever get the chance to make my own film, Billy Freidkin is 1 of the directors I would study first, along with Hitchcock.
ewww, you film school hack
I very eager to watch Sorcerer when I read about it in a review. I loved The French Connection and The Exorcist, and the review mentioned that the music score used Keith Jarrett's pipe organ album "Hymns and Spheres", an album I already owned and Tangerine Dream, who I also loved. I knew it would be a great film, but it surpassed my expectations. It's one of the greatest films of all time. The ending was one of the best scenes. My friends and I speculated that Roy Scheider's character, Jackie Scanlon, gets killed. But after many years of watching it, I imagined an alternate ending. The 2 Hit Men do not whack him because the bar was filled with people including some policemen, and he's a hero with the whole town caring about him (as Friedkin mentioned in this interview). Plus the fact that Scanlon just received $40,000, which he uses to make a deal with the 2 hit men to leave him alone and Scanlon is still stuck there in that crappy town with no money.
He refers to the Movie God.
But really it was all a result of his talent, some good luck and opportune timing.
I hope Mr. Friedkin can film his Citizen Kane before the Cinema God takes him to Film Nirvana...
Stanley Kubrick had just done “Clockwork Orange” and was caught up in the controversy of all that, when “The Exorcist” film was first conceived.
Hurricane Billy
He says they did 36 takes the first day they tried shooting the scene where Hackman and Scheider chase the drug suspect.
That’s almost unbelievable considering that it involved a strenuous and extended foot chase.
And when Friedkin says Hackman’s character roughed up the suspect after they catch up to him, it’s worth remembering that the suspect had also just slashed Scheider’s character on the arm with a knife.
So it’s not surprising that Popeye Doyle was a little “rough.”
What is somewhat surprising is that Friedkin had to goad Hackman to be more aggressive and rougher in his portrayal of Doyle.
Hackman, after all, before pursuing acting was a U.S. Marine.
One other thing. I don’t speak French, but I think the interviewer did a fine job.
Certainly, Jangir is not just a movie, but a new beginning in cinema and in cinema elements such as: create space The complexities of the plot Dramatization Soundtrack Adaptation Strong content Viewing Angle And diversity in the genre, which puts several genres within one genre, and genres such as psychological and parapsychological, and neo-crime tapes into one genre. It is safe to say that it is the final battle against the classic Hollywood cinema and a new beginning in the post-classical Hollywood cinema and the evolution of the genre and elements of cinema all over the world. It can be said that the film script created a new chapter in the screenwriting technique that the aftershocks of this screenwriting model can be felt so far.
I bet Gene didn't have much trouble getting angry in Mississippi Burning. He was hunting racists instead of playing them.