Lynn A. Higgins – författare

Bertrand Tavernier (1941–2021) was widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s in the wake of the New Wave. In just over forty years, he directed twenty-two feature films in an eclectic range of genres from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature—L’Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc Prize—Tavernier showed himself to be a public intellectual. Like his films, he was deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he was immensely knowledgeable about world cinema and American film in particular. Tavernier’s roots were in Lyon, the birthplace of the cinema. He founded and presided over the Institut Lumière, which hosts retrospectives and an annual film festival in the factory where the Lumière brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumière brothers, in that his goal, like theirs, is to “show the world to the world.” It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

Bertrand Tavernier (1941–2021) was widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s in the wake of the New Wave. In just over forty years, he directed twenty-two feature films in an eclectic range of genres from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature—L’Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc Prize—Tavernier showed himself to be a public intellectual. Like his films, he was deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he was immensely knowledgeable about world cinema and American film in particular. Tavernier’s roots were in Lyon, the birthplace of the cinema. He founded and presided over the Institut Lumière, which hosts retrospectives and an annual film festival in the factory where the Lumière brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumière brothers, in that his goal, like theirs, is to “show the world to the world.” It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be ""anti-illusionist,"" never allowing his spectators to forget they were watching a work of art.In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be ""anti-illusionist,"" never allowing his spectators to forget they were watching a work of art.In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922–2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais’s films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be “anti-illusionist,” never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais’s creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922–2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais’s films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be “anti-illusionist,” never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais’s creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

Bertrand Tavernier (b. 1941–2021) was widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s in the wake of the New Wave. In just over forty years, he directed twenty-two feature films in an eclectic range of genres from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature—L’Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize—Tavernier showed himself to be a public intellectual. Like his films, he was deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he was immensely knowledgeable about world cinema and American film in particular. Tavernier’s roots were in Lyon, the birthplace of the cinema. He founded and presided over the Institut Lumière, which hosts retrospectives and an annual film festival in the factory where the Lumière brothers made the first films.In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumière brothers, in that his goal, like theirs, is to "show the world to the world."It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.