Synopsis
Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with “Come In, Lassie!”, a 1948 report on Hollywood’s reaction to HUAC through a 2001 visit to the set of Wes Anderson’s The Royal Tenenbaums , Ross covered the people who make the movies with singular insight and humor. Ross’ lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page. Also features pieces Akira Kurosawa, François Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara & Peter Falk "The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of movies—an attunement that’s also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic venture—and who made that discovery while working on her first major piece about movies.”—Richard Brody, from his Introduction.
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Hardcover. Condition: new. Hardcover. Introduction by Richard Brody.Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with Come In, Lassie!, a 1948 report on Hollywoods reaction to HUAC through a 2001 visit to the set of Wes Andersons The Royal Tenenbaums, Ross covered the people who make the movies with singular insight and humor. Ross lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page.Also features pieces on: Akira Kurosawa, Francois Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara & Peter Falk"The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of moviesan attunement thats also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic ventureand who made that discovery while working on her first major piece about movies.Richard Brody, from his Introduction.While reporting a story, I find myself automatically translating what I see and hear into film-like scenes.Lillian Ross Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9798986446332
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Hardback. Condition: New. Introduction by Richard Brody.Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with "Come In, Lassie!", a 1948 report on Hollywood's reaction to HUAC through a 2001 visit to the set of Wes Anderson's The Royal Tenenbaums, Ross covered the people who make the movies with singular insight and humor. Ross' lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page.Also features pieces on: Akira Kurosawa, François Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara and Peter Falk"The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of movies-an attunement that's also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic venture-and who made that discovery while working on her first major piece about movies."-Richard Brody, from his Introduction."While reporting a story, I find myself automatically translating what I see and hear into film-like scenes."-Lillian Ross. Seller Inventory # LU-9798986446332
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Hardcover. Condition: new. Hardcover. Introduction by Richard Brody.Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with Come In, Lassie!, a 1948 report on Hollywoods reaction to HUAC through a 2001 visit to the set of Wes Andersons The Royal Tenenbaums, Ross covered the people who make the movies with singular insight and humor. Ross lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page.Also features pieces on: Akira Kurosawa, Francois Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara & Peter Falk"The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of moviesan attunement thats also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic ventureand who made that discovery while working on her first major piece about movies.Richard Brody, from his Introduction.While reporting a story, I find myself automatically translating what I see and hear into film-like scenes.Lillian Ross Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Seller Inventory # 9798986446332
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Hardcover. Condition: new. Hardcover. Introduction by Richard Brody.Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with Come In, Lassie!, a 1948 report on Hollywoods reaction to HUAC through a 2001 visit to the set of Wes Andersons The Royal Tenenbaums, Ross covered the people who make the movies with singular insight and humor. Ross lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page.Also features pieces on: Akira Kurosawa, Francois Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara & Peter Falk"The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of moviesan attunement thats also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic ventureand who made that discovery while working on her first major piece about movies.Richard Brody, from his Introduction.While reporting a story, I find myself automatically translating what I see and hear into film-like scenes.Lillian Ross Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Seller Inventory # 9798986446332
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Buch. Condition: Neu. Neuware - Introduction by Richard Brody.Lillian Ross was a staff writer at The New Yorker for seven decades, and wrote on filmmakers regularly over the course of her extraordinary career. Beginning with 'Come In, Lassie!', a 1948 report on Hollywood's reaction to HUAC through a 2001 visit to the set of Wes Anderson's The Royal Tenenbaums, Ross covered the people who make the movies with singular insight and humor. Ross' lengthiest pieces, about Otto Preminger fighting against the television broadcast of Anatomy of a Murder in 1966, and Francis Ford Coppola preparing for the release of One from the Heart in 1982, are legendary portraits of the larger than life personalities that Ross rendered human on the page.Also features pieces on: Akira Kurosawa, François Truffaut, Jean-Luc Godard, Oliver Stone, John Huston, Jacques Tati, Charles Chaplin, Mag Bodard, Alfred Hitchcock, Clint Eastwood, Federico Fellini, Anjelica Huston, Gene Kelly, Donald Shebib, and John Cassavetes, Ben Gazzara & Peter Falk'The recognition, from early in her career, that the center of gravity in the world of movies is indeed the director puts Ross . . . at the forefront of film-centric writers of her generation. The pieces in Film Business reflect her attunement to the art of movies-an attunement that's also something of a philosophy of life, as befits the work of a writer who, self-consciously approached nonfiction writing as an essentially literary, novelistic venture-and who made that discovery while working on her first major piece about movies.'-Richard Brody, from his Introduction.'While reporting a story, I find myself automatically translating what I see and hear into film-like scenes.'-Lillian Ross. Seller Inventory # 9798986446332
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