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Conversations with Wilder

Author: Billy Wilder; Cameron Crowe
Publisher: New York : Knopf : Distributed by Random House, 1999.
Edition/Format:   Book : Biography : English : 1st edView all editions and formats
Database:WorldCat
Summary:
Written in a question-and-answer format, this interview with the legendary Hollywood writer-director shares his thoughts on screenwriting, cinematography, the studio system, the Golden Age of film, and the many stars with whom he worked.
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Genre/Form: Interviews
Additional Physical Format: Online version:
Wilder, Billy, 1906-2002.
Conversations with Wilder.
New York : Knopf : Distributed by Random House, 1999
(OCoLC)607391056
Online version:
Wilder, Billy, 1906-2002.
Conversations with Wilder.
New York : Knopf : Distributed by Random House, 1999
(OCoLC)609314259
Named Person: Billy Wilder; Billy Wilder
Material Type: Biography, Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Billy Wilder; Cameron Crowe
ISBN: 0375406603 9780375406607 0375709673 9780375709678
OCLC Number: 41278518
Notes: Includes indexes.
Description: xix, 373 p. : ill. ; 27 cm.
Contents: Jack Lemmon and George Cukor --
Final scene of Some Like It Hot --
"Cary Grant slipped through my net every time" --
On Spielberg and Kubrick --
"Mr. Goldwyn knew what was working" --
Charles Boyer and the cockroach --
Dancing in Berlin --
"Laughton was everything that you can dream of, times ten" --
The "Lubitsch touch" --
Marilyn Monroe --
Collaborating with Charles Brackett and I. A. L. Diamond --
William Holden for Sunset Boulevard --
Double Indemnity --
"You dig?" --
Audrey Hepburn --
"It was a picture that looked like a newsreel" --
"Fritz Lang told me, 'Look for the good shooters'" --
The broken compact mirror --
Thonet furniture and art direction in The Apartment --
Shooting in black-and-white --
Dietrich lit herself --
On not losing the straight line --
Jean Arthur --
A Foreign Affair --
"Dietrich would do anything that I wanted her to do" --
The look --
Ace in the Hole --
"You can never predict an audience's reaction" --
The Seven Year Itch --
Lindbergh and The Spirit of St. Louis --
Gary Cooper --
"I don't shoot elegant pictures" --
Dirty men and Stalag 17 --
"When I write, I'd like to direct. When I direct, I'd like to write" --
The ghost of Sunset Boulevard hung over Fedora --
"I'm a company man" --
Voice-overs --
"There are no rules" --
Romantic comedies --
"Jack Lemmon was my Everyman" --
First love --
The Fortune Cookie --
Mother at Auschwitz --
"I never introduce anybody to an agent" --
Children --
Jean Renoir and Fellini --
"Print number one" --
Picasso and Freud --
"Make it true, make it seem true" --
Leading men and leading ladies --
"You are attracted to something which is on the screen only" --
Love in the Afternoon --
"I never raise my voice on the second or third take" --
Close-ups --
Witness for the Prosecution --
Charles Laughton --
Dean Martin --
Some Like It Hot --
"I never knew what Marilyn was going to do" --
One Two Three --
Cagney --
"Overall, audiences are much smarter than what they getting" --
Fleeing Berlin for Paris after the Reichstag fire --
"Mom was a good cook" --
Reflection in the monocle --
"Capra hit the times right on the head" --
Preston Sturges in the Café Alexandre --
Howard Hawks and Ball of Fire --
Barbara Stanwyck dancing "Drum boogie" --
A script on scratch paper --
Writing for other directors --
Final shot of Ace in the Hole --
"I never put much camera direction into the screenplays" --
Marx Brothers --
Mars and time capsules --
Scoring a film --
Shooting at the Hotel del Coronado --
Givenchy for Audrey Hepburn --
Drag in Some Like It Hot --
"We have sold out to the guys making special effects" --
Newspapermen in Vienna and Berlin --
Ghostwriting for movies --
Ginger Rogers --
Avanti! --
"I always need a plot" --
Jazz in Berlin --
"I write with the camera, but not too much" --
The Front Page --
Pauline Kael --
"Famous 'lost sequences'" --
Woody Allen --
Hiding the plot point --
Roommate Peter Lorre at the Château Marmont --
Five Graves to Cairo --
"Pictures were made to play for a week" --
The Lost Weekend --
John Barrymore --
Wilder's women --
"I'm at my best writing against my mood" --
Working with I.A.L. Diamond --
Good sentimentality --
The small movie --
Exercising with Billy --
Salinger and Catcher in the Rye --
Lubitsch and Ninotchka --
"We made fifty pictures a year then. But we wrote a hundred and fifty" --
"I don't make cinema, I make movies" --
Monday Night Football at the Wilders' --
Erotikon --
"I am mostly a writer" --
Timing and casting --
"Lubitsch did it better."
Responsibility: by Cameron Crowe.
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Abstract:

Written in a question-and-answer format, this interview with the legendary Hollywood writer-director shares his thoughts on screenwriting, cinematography, the studio system, the Golden Age of film, and the many stars with whom he worked.

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