By Paul Auster
Este volumen recoge Smoke, Blue within the Face y Lulu at the Bridge, tres de los guiones de Paul Auster, además de fabric adicional como entrevistas, notas a los actores y el texto del Cuento de Navidad de Auggie Wren (que motivó l. a. película Smoke). Una excelente oportunidad para adentrarse en los trabajos del género cinematográfico que Paul Auster ha desarrollado a lo largo de su carrera.
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Extra info for Guiones
J. Särkkä (1890–1975) comes closest to the archetypal image of a film mogul. Särkkä held an autocratic position in Suomen Filmiteollisuus (SF), the biggest production company in Finland from the late 1930s to the early 1960s and, like his Hollywood colleagues, he was a most controversial public figure, loved and feared, respected and despised alike. Unlike Hollywood producers, however, due to the relatively small scale of production, he was able to personally operate on many levels of film practice, not only as the president of the company and the central producer, but also as a prolific director and screenwriter.
The first film journals Biograafilehti and Bio (published for short periods of time in 1915 and 1916) focused on presenting famous film personas. Occasionally, they used the word ‘star’, although the term wasn’t in widespread use yet. When compared with the amount of films imported, domestic production struggled in volume, with only little over twenty Finnish fictional films receiving wide theatrical distribution before 1920. This can be considered one of the reasons for the audiences’ focus on international celebrities.
Its male protagonist was the sharp-faced Kille Oksanen, while the female lead was played by 1939’s Miss Europa, Sirkka Salonen. Tulio’s career froze for a few years as he was ordered to the frontlines to capture the war on film, and his current project was cancelled due to Oksanen’s death in battle in October 1941. Towards the end of the war, he cherished experimentation and asked Nisse Hirn to write a screenplay for him. Sellaisena kuin sinä minut halusit/The Way You Wanted Me (1944) was the start of a new era in Tulio’s career as the rural locations were replaced with the sinful darkness of the city.