gus van sant: the art of making movies by katya tylevich & the de palma decade: redefining cinema with doubles, voyeurs, and psychic teens by laurent bouzereau | BOOK REVIEW
🗓️ DATE RELEASED;
NOVEMBER 2021 & SEPTEMBER 2024
📚 GENRE;
NONFICTION/FILM
⭐️ PERSONAL RATING;
ENJOYED BOTH, THOUGH I PREFERRED TYLEVICH’S STRUCTURE AND WRITING. EXTRA THOUGHTS BELOW THE CUT.
💭 thoughts;
i love behind-the-scenes info on film, so when i saw these two books in my library, of course i picked them up lol! gus van sant is one of my favorite directors, and while i haven't seen much (or any) of brian de palma's filmography, his work is undoubtedly iconic and has inspired so many, so i had to check it out! in katya tylevich's book, she goes over the creative life of gus van sant from his college days to possible future work. meanwhile, laurent bouzereau focuses on a specific decade of de palma's work: the 70s to early 80s.
both books include interviews from the aforementioned filmmakers, but in bouzereau’s book, there is also interviews from cast and crew members. tylevich only presents to us gus van sant’s perspective and what he can remember. for visual readers, both books contain images to accompany the text, either of film stills or behind-the-scenes photographs and scripts.
if you want a collection of interviews and analysis of the material, de palma’s book is for you. while well organized by themes, the movies aren’t presented in a chronological fashion. not my biggest complaint, but i can see why that would bother other readers. we get insight into most, if not all, creative choices - even deleted/scrapped scenes from earlier scripts! i will be honest, im not sure how much this information was publicly available before the book so i am gonna take it with a grain of salt. but what i do know is that even with the internet, some things just aren’t archived. so seeing reviews and public reception from that time period is really interesting, especially negative backlash from activist groups that are now extinct. regardless, still neat info!
gus van sant’s book follows a chronological order - as a said earlier - from his college days to the present. we get insight into van sant’s early trials and tribulations in figuring out the type of filmmaker he’d later create, finding the right crew and cast for his scripts, and why we see what we see on screen. i know my explanation is sort of lacking, but i think its best if anyone interested in more reads the book. still trying to keep it somewhat vague here haha. but if you like learning the technical and crew aspect of film, this book might interest you.
it was a really interesting experience reading both back to back and comparing the two filmmakers: tylevich directly compare and contrasts gus van sant and alfred hitchcock’s type of directing and style. since de palma has been called a hitchcock disciple, by extension this felt like a direct relation to de palma. even with hitchcock’s influence on his technicality and focus on images, there’s that sense of surrealism that’s also found in van sant’s death trilogy. the most ‘van sant’ film of his might be obsession (1976) and carrie (1976), and vice versa, van sant’s most de palma-esque film could be to die for (1995). but that’s just my opinion!
though very different directors with different artistic focuses, i feel that both their body of works share a theme of tradgedies and outsider characters (which the writers highlight in depth). palma has carrie, the psychic twins of the fury (1978), and winslow leach of phantom of the paradise. van sant has the found family in drugstore cowboy (1989), alex of paranoid park (2007), and scott favor in my own private idaho (1991). each of these stories focus on a character who crosses the threshold into an area that does not belong to them - carrie the laughing stock of her highschool made prom queen, scott favor is a rich boy/mayor’s son who rebels against his father by becoming a hustler, alex follows a stranger into an unknown skate park, etc. this intrusion culminates in a tragedy, almost always death. even with this bleak focus, there is something so emotional about the way the two directors handle these stories. the plot isnt just about the pain and the inevitable - there is real hope and sincerity that is made real through these characters - they were not created just to experience the ending. they become real to us throughout the film, in part becoming the tragedy and loss. tylevich and bouzereau both illustrate these connecting themes beautifully in their writing and, even through words, the work of van sant and de palma is palpable.
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