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"If you love films and care about filmmakers, you'll have a hard time putting this book down. These lively conversations reveal just how much one generation of filmmakers influences the next - and how a single movie can change the course of a young person's life and career."
-Leonard Maltin, author of Leanord Martin's Movie Guide -
"A great and provocative read. Elder begins with a simple question and leads a wide variety of filmmakers down all sorts of unexpected paths. Why do we respond so passionately, even irrationally, to the movies that change our lives? The wonderful thing about being a critic or a lifelong movie lover is that life changes all the time in relation to the spells being cast on the screen. Elder's book honors that alchemic relationship many times over. It's addictive."
-Michael Phillips, film critic, Chicago Tribune
John Waters on The Wizard of Oz:
“I can still, with my nieces and nephews, just say, [menacingly] ‘Who killed my sister!’ and they break into tears. They were young. It really scares most kids. If it scared me, I loved it. And it made me appreciate villains in films.”
Gurinder Chadha (Bend it Like Beckham) on It’s a Wonderful Life
Gurinder Chadha on It’s a Wonderful Life: “The reason it’s so powerful is: it makes you think. I lost my father a few years ago, and it had a profound effect on me. Bend It Like Beckham is dedicated to my dad. For me, it’s a film about life and death. For me, it brings up grief and that whole side about losing someone. But it’s also about an affirmation about what their life was about, and the pleasure that they gave in their life.”
Danny Boyle on Apocalypse Now:
“It’s obviously made at the absolute Everest of megalomania, the absolute peak of, ‘I can do nothing wrong, and I must just push myself.’ And that’s, of course, one of the things celebrated in the film. You do see a film made at the absolute edge of sanity, really.”
Richard Kelly on how Brazil influenced his own work:
“If I’m taking inspiration, or if I’m going to blatantly rip off my favorite artists, I try not to make it quite so blatant; I try to bury it in the DNA of the text of my film.”