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Lisa Basile's avatar

Another great read! I like what you said about Ford having more control of his work by flying under the radar and strategically presenting himself as a guy just doing a job. Ford was an auteur as much by what he didn’t do as by what he did wasn’t he? Like taking over the editorial process by only filming the shots he wanted and leaving nothing for the cutting room floor. That video you included at the bottom was priceless - It’s a great illustration of what you said. He didn’t give a straight answer on anything! What was the context of the interview?

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Robert Steven Mack's avatar

That’s a great point. By cutting in camera and leaving less for the editor to cut, Ford was able to preserve his vision in post-production without having to actively oversee it. For most directors, shooting in one or two takes would be a very risky practice. But Ford didn’t want to take chances and also knew how to capture actors at their freshest.

It’s always great to watch Ford being interviewed. He was so cantankerous and evasive, but he seems like he’s in a good mood there. Since the interviewer was French, I’m thinking that it could be Francois Truffaut, a French critic and film director who about auteur theory and American directors.

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Lisa Basile's avatar

I was wondering if it could be Francois Truffaut- There is an irreverent familiarity - more like a colleague. 😆

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Robert Steven Mack's avatar

That’s why he might have been more congenial, yes!

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Diana Mack's avatar

Thank you, Robert! It’s fascinating to hear that Ford wanted actors to be “at their “freshest”… ISo, Ford not only tried to prevent his work to be significantly altered but also strived for a certain authenticity in expression from his performers in front of the screen. I recall you once talking about the tête-à-tête with Clark Gable about a second take on kissing his co-star. It was hilarious!!!

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Lisa Basile's avatar

Now this is a story worth hearing!

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