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  • Boorman, John Close
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Animation and Dynamation

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...Ray Harryhausen with two of his creations. Introduction Ray Harryhausen is undoubtedly the greatest artist in stop-motion animation alive today. In a career that spans over forty years of cinema, his name has become a by-word...

A Lot Can Happen in a Second

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...Introduction In 1989 a young animator called Nick Park completed his first two short films: Creature Comforts and A Grand Day Out. In an unprecedented situation, both were nominated for BAFTA and Oscar awards, A Grand Day Out winning...

On Writing

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...robert towne: As we go through Chinatown I’m hoping that I myself can find out something because I think that ideally every effort either to write a movie or deal with a movie is in some sense an act of discovery. Even when you think you...

Missing Sandy Dennis

Viggo Mortensen

Viggo Mortensen

Search for publications

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...There are always moments, sometimes entire scenes and characters, that are cut out of a movie. For anyone who takes an active interest in the story they are helping to tell, whatever their capacity in a production, there is bound...

Jodie Foster talks to Mike Figgis

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...New York, New York: De Niro and Liza Minnelli.How would you describe what you do?God, I never know how to describe it. I don’t think I do a different job as a director than I do as an actress, or as a producer. For me it’s all about...

Jeanette Helen

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...Hello, Jeannette Helen.Jeannette Helen Morrison, yes.How long have I called you Jeannette Helen?Since you were old enough to know what my real name was.Why do you think I call you Jeannette Helen?I don’t know. Instead of calling me Mom...

Making Tarnation

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...The feature debut of Jonathan Caouette, Tarnation is a raw, extremely personal and sensual display of self-destruction and rebirth that announces the arrival of an exceptional new cinematic visionary. Interweaving a psychedelic whirlwind...

Paul Thomas Anderson talks to Mike Figgis

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...I thought your film was fantastic.Thank you.One of the best films I’ve seen in a long time, just the whole way you made it. So, is it something you’d been with for a long time?Long, long time. When I was seventeen I wrote a short film...

Learning Your Craft

The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...Introduction This close to the millennium, it seems safe to pronounce James Stewart one of the greatest film actors of the century. In fairness, it’s been safe for quite some time now. Some would argue a pre-war trilogy as the start...

Lee Marvin

John Boorman

John Boorman was born in London in 1933. After working as a film reviewer for magazines and radio, he joined the BBC in 1955 as an assistant editor, and later directed a number of documentaries. His first feature was ‘Catch Us If You Can’ in 1965. His latest film, Country of My Skull, opens in 2003. He is a five-time Academy Award-nominee, and was twice awarded Best Director at the Cannes Film Festival for Leo the Last (1970) and The General (1998). He is the author of Money Into Light: The Emerald Forest - A Diary, as well as the being the co-founder and editor of Faber & Faber's long-running series Projections: Film-makers on Film-making. Author affiliation details are correct at time of print publication.

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The Director’s Cut : The Best of Projections

Faber and Faber Limited, 2006

Book chapter

...The profound unease we feel in identifying with an evil character in a movie is the recognition that we may be capable of such evil. Conversely, identifying with a hero elevates us, leads us to believe ourselves capable of sacrifice, honour...