Describe your new book. Oddfellow's Orphanage is a series of stories/vignettes that tell the tale of the newest arrival to a curious orphanage, a...
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"To most film junkies, the late actor and director John Cassavetes (Faces, A Woman Under the Influence) is an independent film icon. To everyone else, he's either the evil husband in Rosemary's Baby or the guy who directed wife Gena Rowlands in Gloria. And that is Fine's motivation: 'I wanted to write the book that I longed to read...the one that explained to a mainstream audience why they should know and care about the work of John Cassavetes.' The good news is, the book is not an impenetrable academic tome. Rather than engage in esoteric film criticism, Fine gives us a blow-by-blow account of how Cassavetes's fierce will led to the birth of independent film. The director's desire to go against the grain is highlighted throughout, such as when he told higher ups at the Actors Studio: 'Screw you. I don't want any part of you. I've got my own school and I'll drive yours out of town.' For a Cassavetes devotee, this is manna. But if Fine's goal is to convert the uninitiated, he's missed the mark by taking it for granted that the reader will be as enamored of his subject as he is. And Fine's fetishistic description of every Cassavetes project progresses at a merciless grind so tedious that the merely curious would do better to rent a Cassavetes film." Publishers Weekly (Copyright Reed Business Information, Inc.)
"Publishers Weekly Review"
by Publishers Weekly,
"To most film junkies, the late actor and director John Cassavetes (Faces, A Woman Under the Influence) is an independent film icon. To everyone else, he's either the evil husband in Rosemary's Baby or the guy who directed wife Gena Rowlands in Gloria. And that is Fine's motivation: 'I wanted to write the book that I longed to read...the one that explained to a mainstream audience why they should know and care about the work of John Cassavetes.' The good news is, the book is not an impenetrable academic tome. Rather than engage in esoteric film criticism, Fine gives us a blow-by-blow account of how Cassavetes's fierce will led to the birth of independent film. The director's desire to go against the grain is highlighted throughout, such as when he told higher ups at the Actors Studio: 'Screw you. I don't want any part of you. I've got my own school and I'll drive yours out of town.' For a Cassavetes devotee, this is manna. But if Fine's goal is to convert the uninitiated, he's missed the mark by taking it for granted that the reader will be as enamored of his subject as he is. And Fine's fetishistic description of every Cassavetes project progresses at a merciless grind so tedious that the merely curious would do better to rent a Cassavetes film." Publishers Weekly (Copyright Reed Business Information, Inc.)
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