Post by KotO on Jan 6, 2022 22:23:26 GMT
www.yahoo.com/entertainment/peter-bogdanovich-iconic-director-last-174405584.html
Steve Chagollan
Thu, January 6, 2022, 12:44 PM
Peter Bogdanovich — whose “The Last Picture Show” and “Paper Moon” solidified his reputation as one of the most important filmmakers in the New Hollywood of the ’70s, but whose personal life threatened to overshadow his career behind the camera — has died, Variety has confirmed. He was 82.
The director also had acting roles on such shows as “The Sopranos,” on which he recurred as Dr. Melfi’s psychotherapist; “The Simpsons”; and as a DJ in Quentin Tarantino’s “Kill Bill Volumes 1 and 2.”
Wildly prolific and celebrated early on, then mired in hubris-laced scandal when he became involved with two of his leading ladies — the first for whom he left his wife, the second a Playboy centerfold killed by her husband — Bogdanovich nevertheless remained busy directing, writing and acting through his late years, and emerged, like Martin Scorsese, as a scholarly champion of old-school American moviemakers.
Like his peers of the French New Wave, Bogdanovich parlayed a career in film criticism and scholarship into directing. He was among the first generation of movie nerds-cum-directors who were raised on the language of cinema, a breed that included the younger Spielberg, and later, Quentin Tarantino.
As David Thomson put it in “The New Biographical Dictionary of Film,” “Bogdanovich was a valuable, French-inspired critic who insisted on the director as auteur, so much so that many Americans began to take directors more seriously because of what he wrote.”
Based on Bogdanovich’s movie meditations in Esquire magazine, Roger Corman, who also gave Francis Ford Coppola and Scorsese their breaks in the world of low-budget B pictures, enlisted Bogdanovich to work as his assistant director on the 1966 “Wild Angels.” Under Corman’s aegis, Bogdanovich would graduate to write, direct and produce “Targets” (1968), about a rampaging Vietnam war vet. The experience would prove to be a crash course in filmmaking for the twenty-something novice and pave the way for his breakthrough 1971 feature, “The Last Picture Show,” based on the Larry McMurtry novel.
Steve Chagollan
Thu, January 6, 2022, 12:44 PM
Peter Bogdanovich — whose “The Last Picture Show” and “Paper Moon” solidified his reputation as one of the most important filmmakers in the New Hollywood of the ’70s, but whose personal life threatened to overshadow his career behind the camera — has died, Variety has confirmed. He was 82.
The director also had acting roles on such shows as “The Sopranos,” on which he recurred as Dr. Melfi’s psychotherapist; “The Simpsons”; and as a DJ in Quentin Tarantino’s “Kill Bill Volumes 1 and 2.”
Wildly prolific and celebrated early on, then mired in hubris-laced scandal when he became involved with two of his leading ladies — the first for whom he left his wife, the second a Playboy centerfold killed by her husband — Bogdanovich nevertheless remained busy directing, writing and acting through his late years, and emerged, like Martin Scorsese, as a scholarly champion of old-school American moviemakers.
Like his peers of the French New Wave, Bogdanovich parlayed a career in film criticism and scholarship into directing. He was among the first generation of movie nerds-cum-directors who were raised on the language of cinema, a breed that included the younger Spielberg, and later, Quentin Tarantino.
As David Thomson put it in “The New Biographical Dictionary of Film,” “Bogdanovich was a valuable, French-inspired critic who insisted on the director as auteur, so much so that many Americans began to take directors more seriously because of what he wrote.”
Based on Bogdanovich’s movie meditations in Esquire magazine, Roger Corman, who also gave Francis Ford Coppola and Scorsese their breaks in the world of low-budget B pictures, enlisted Bogdanovich to work as his assistant director on the 1966 “Wild Angels.” Under Corman’s aegis, Bogdanovich would graduate to write, direct and produce “Targets” (1968), about a rampaging Vietnam war vet. The experience would prove to be a crash course in filmmaking for the twenty-something novice and pave the way for his breakthrough 1971 feature, “The Last Picture Show,” based on the Larry McMurtry novel.