I think the average guy thinks they’re pro-woman, just because they think they’re a nice guy and someone has told them that they’re awesome. But the truth is far from it. Unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations.
We see now, 60 and 70 years later, that John Ford and Howard Hawks are beyond genres. Even so, I always felt that genre filmmaking was going to be my home, but I also understood that you couldn’t go on making them the way they used to do — there’s no challenge. If you were just gonna go at it the way the old guys did, then you were going to run up against the fact that they did it better than you ever could — not surprising, since they had invented the genres themselves. My generation found you had to use the old genres in new ways, pull them inside out.
We all have our influences. Early in my career, it was said I was very influenced by Peckinpah; now they tend to say I’m more of a Hawksian, but whatever. Sam was tremendously influenced by Kurosawa, and Kurosawa was tremendously influenced by Ford, Ford was tremendously influenced by DW Griffith, and Griffith was tremendously influenced by the novels of Dickens. Now, I don’t mean to insert myself in this lineage, I just mean everybody’s holding everyone else’s hands and everyone’s sitting on everyone else’s shoulders. —Walter Hill: a life in the fast lane
THE BEST SCREENWRITING SCHOOL YOU CAN GET
Walter Hill’s The Driver is a great film for young screenwriters to dissect. Enjoy it once — then go back and take it apart — you’ll learn a lot!
For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:
Dir/ Richard Ayoade
DoP/ Erik Wilson