ACKNOWLEDGMENTS

MY SINCERE THANKS are due to Mr. Royal Brown of Queens College, New York City, for his expert translation of the article by Ingmar Bergman; to Mrs. Edith Greenburg Albee for her assistance and encouragement; to Mr. Michael Aronson, who suggested the idea of this book without realizing all that he was letting himself in for, and who also provided much useful advice and many pleasurable hours of conversation; to Mr. Herman G. Weinberg for his advice and suggestions; to Mr. John H. Gagnon for helping to trace one of the copyright holders; to Mr. Dan H. Laurence for his generous assistance; to Carolyn for much encouragement and the constant reminder to justify my surname; and to all the directors represented in this book as a small and quite inadequate appreciation of their work.

Grateful acknowledgment is also made to the following for permission to print the material listed:

To M. Georges Sadoul and Sight and Sound for “Lumière—The Last Interview” originally published in Sight and Sound, XVII, no. 66 (Summer 1948), pp. 68-70.

To Mr. Raymond Rohauer, Film Curator and Program Director of the Gallery of Modern Art, New York City, for “How to Throw a Pie,” from King of Comedy by Mack Sennett as told to Cameron Shipp (New York: Doubleday, 1954), pp. 135-46. Mr. Rohauer kindly grants this permission as copyright holder of all interests pertaining to films and publications by Mack Sennett.

To Mrs. Frances H. Flaherty, Mr. Erik Barnouw, and International Film Seminars, Inc., for “How I Filmed Nanook of the North,” by Robert J. Flaherty, originally published in The World’s Work, XLIV (September 1922), pp. 553-60.

To Mr. Max Reinhardt and The Bodley Head, Ltd., for the excerpts from My Autobiography by Charles Chaplin (London: The Bodley Head, Ltd., 1964).

To M. Jacques Ledoux (Royal Film Archive of Belgium) and Mr. Peter Morris (Canadian Film Institute) for “Von Stroheim Introduces the Merry Widow,” published in Hommage à Erich von Stroheim, a brochure of the Canadian Film Institute, issued in February 1966.

To Penguin Books Ltd., Penguin Books Inc., Mrs. Sandra W. Smith, and Mrs. Linda Posey for “Happily Ever After,” by Fritz Lang, originally published in Penguin Film Review no. 5 (January 1948), pp. 22-29; for “Those Were the Days,” by Cecil Hepworth, originally published in Penguin Film Review, no. 6 (April 1948), pp. 33-39; and for “About Stereoscopic Cinema,” by S. M. Eisenstein, originally published in Penguin Film Review no. 8 (January 1949), pp. 35-44. And to the authors and translators, living and dead.

To Film in Review and Miss Jeanne Stein for “Color and Color Films,” by Carl Th. Dreyer, published in English in Films in Review, April 1955.

To Mr. Pete Martin for his interview, “I Call on Alfred Hitchcock,” originally published in the Saturday Evening Post, July 27, 1957, pp. 36-37, 71-73.

To Mr. P. E. Dosse, Hansom Books Ltd., and Films and Filming for “The Bitter Life—of Money,” by Federico Fellini, from Films and Filming, January 1961, pp. 13, 38; for “The Two Worlds of the Cinema,” by Tony Richardson, from Films and Filming, June 1961, pp. 7, 41; for “Destroying the Commonplace,” by Andrzej Wajda, from Films and Filming, November 1961, pp. 9, 40; for “Trying to Understand My Own Film,” by Alain Resnais, from Films and Filming, February 1962, pp. 9-10, 41; for “Last Words on Last Year” by Alain Resnais and Alain Robbe-Grillet, from Films and Filming, March 1962, pp. 39-41.

To Dobson Books Ltd., and Mr. Alan England for the excerpts from Cocteau on the Film by Jean Cocteau and André Fraigneau, translated by Vera Traill (London: Dobson, 1954), pp. 12-21, 104-17.

To Mr. Jonas Mekas and Film Culture for “A Statement,” by Luis Buñuel, from Film Culture no. 21, Summer 1960, pp. 41-42; for “Reflections on the Film Actor,” by Michelangelo Antonioni, from Film Culture nos. 22-23, Summer 1961, pp. 66-67; for “A Talk with Michelangelo Antonioni on His Work,” from Film Culture no. 24, Spring 1962, pp. 45-61; and for “The Writings of Dziga Vertov,” from Film Culture no. 25, Summer 1962, pp. 50-65. The “Kinoks-Revolution” manifesto, part of the Dziga Vertov material, was first published in 1919. It reappeared in an extended version in LEF magazine, no. 3, 1922, ed. Vladimir Mayakovsky, from which the translation published here was taken. The “Notebooks” material first appeared in Iskusstvo Kino, no. 4, 1957. The “Kino-Eye” lectures were first published in English in Filmfront, New York, 1935.

To Cahiers du Cinéma for “Qu’est-ce que faire des Films?” by Ingmar Bergman, originally published in Cahiers du Cinéma, XI no. 61 (July 1956), pp. 10-19. The article appears here in an English translation, titled, “What is ‘Film-making’?”

To Mr. Josef von Sternberg, The Macmillan Company, Martin Seeker and Warburg Ltd., and Mr. Jonas Mekas for “Acting in Film and Theatre,” by Josef von Sternberg, from Film Culture, I nos. 5-6, Winter 1955, pp. 1-4, 27-29. This article has been incorporated, with some changes, in Mr. von Sternberg’s book, Fun in a Chinese Laundry (New York: Macmillan, 1965).

To Mr. Francis Koval and Sight and Sound for “Interview with Welles,” from Sight and Sound, December 1950, pp. 314-16.

To Sight and Sound and Miss Penelope Houston for “A Long Time on the Little Road,” by Satyajit Ray, from Sight and Sound, Spring 1957, pp. 203-205.

To Show magazine, Symphonette Square, Larchmont, New York, for “Kurosawa: Japan’s Laureate of Film,” from Show Business Illustrated, April 1962.

To Mr. Robert Hughes for the excerpts from “The Film-maker and the Audience,” originally published in Film: Book I, edited by Robert Hughes (New York: Grove Press, 1959).

To Mr. Kenneth Anger and Mr. Stephen De Canio (editor of Spider) for “Spider Interviews Kenneth Anger,” from Spider I, no. 3, April 15, 1965, pp. 5-7, 9-11, 14-16.

The editor and publisher have made every effort to determine and credit the holders of copyrights of the selections in the book. Any errors or omissions may be rectified in future editions.

H.M.G.