By Gene Phillips
"This booklet offers with 5 ecu movie administrators - Fritz Lang, William Wyler, Billy Wilder, Otto Preminger, and Fred Zinnemann - who have been pressured into exile within the wake of the increase of Hitler, and who as a consequence enriched the yank movie with a reservoir of recent expertise that have been nurtured in Europe. Of the various ecu moviemakers who steered themselves, the writer has selected those that have made enduring works that also entice filmgoers this day, as attested through their availability on tv and on videocassette."--BOOK JACKET. "The writer performed own interviews with and corresponded with all 5 administrators featured during this booklet, lending a "first-hand" measurement and lengthening the book's benefits as a piece of unique scholarship."--BOOK JACKET.
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Additional resources for Exiles in Hollywood: major European film directors in America
When Metropolis premiered in Berlin, it ran a full two hours. But more than half an hour was cut from the film when it subsequently went into general release around the world. In 1984, however, when film composer Georgio Moroder decided to compose a new musical score for the movie, he restored as much of the missing footage as he could unearth in various film archives. Moroder's reconstruction of the film brought the running time up to eighty-seven minutes. Moroder composed eight songs with rather uninspired lyrics as part of the music track of the film.
7 Only the director, then, can create a unified work of art out of the corporate effort that characterizes the making of a motion picture. In describing the central role of the director in the production of a movie, another critic has said that the director's function is that of quarterback, orchestra leader, trail boss, company commander, and, at times, lion tamer. "The enigma of filmmaking," writes Billy Wilder, "is that it is at once a dictatorship and a democracy: the dictatorship of the creator" who maintains "his conception of how the script should be transferred to the screen; and the democracy of scores of highly skilled technicians, who must work as a team, pooling their knowledge and experience, to make that transition from script to screen.
They hide in the darkness surrounding the meeting place so that their presence will not be discovered. Freder, who has heard about the meeting while he was working in the factory, also attends the gathering, which is presided over by Maria. , the workers). In this fashion, communication can be established between management and labor. Entranced by her exhortation, Freder sees himself as becoming such a mediator; once again, Freder is implicitly associated with Christ, the mediator between God and mankind.
Exiles in Hollywood: major European film directors in America by Gene Phillips