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Want to link somewhere? Use this link: http://edgeofoutside.4thefan.net/?L2883
Arthur Penn directing Faye Dunaway in a scene from Bonnie and Clyde (1967).
Director Stanley Kubrick shooting a scene from A Clockwork Orange (1971).
Director Stanley Kubrick shooting a scene from A Clockwork Orange (1971).
Director Sam Peckinpah on the set of Pat Garrett & Billy the Kid (1973).
Director Sam Peckinpah on the set of Pat Garrett & Billy the Kid (1973).
Director Sam Peckinpah on the set of Pat Garrett & Billy the Kid (1973).
Director Samuel Fuller on the set of The Big Red One (1980).
Director Martin Scorsese on the set of Alice Doesn't Live Here Anymore (1974).
Director Martin Scorsese shooting a scene from GoodFellas (1990).
Director Orson Welles shooting a scene from The Magnificent Ambersons (1942).
Each link opens a streaming clip in a new window. Feel free to link to these from your own site!
Arthur Penn on Bonnie and Clyde
• Turner Classic Movies (TCM) explores the uncompromising vision, creative spirit and maverick determination of independent filmmakers, both classic and current in EDGE OF OUTSIDE.
• The documentary offers an intimate look at the various issues, creative and personal, financial and emotional, that many classic filmmakers endure and how those struggles are mirrored by many contemporary directors of today.
• EDGE OF OUTSIDE serves as the network's first fully in-house produced original documentary and is produced and directed by Shannon Davis, SVP of original production for TCM.
• The documentary illustrates the work and independent spirit of six classic filmmakers: Orson Welles, Stanley Kubrick, Nicholas Ray, Samuel Fuller, Sam Peckinpah and John Cassavetes.
• The film is a tribute to the fight of artistic freedom in American independent cinema and profiles how each director (both classic and current) takes a different approach to producing their films, whether inside the Hollywood system with major studios or without. However, it is their adamant drive to create a vision, despite many obstacles, that connects classic filmmakers such as Kubrick or Welles with those of today.
• EDGE OF OUTSIDE dispels the notion that an independent film is simply a low-budget film, instead defining the genre by the filmmaker's ability to infuse his or her films with creative spirit and determination.
• EDGE OF OUTSIDE features original interviews with Martin Scorsese, Peter Falk, Ed Burns, Spike Lee, Henry Jaglom, Arthur Penn, Gena Rowlands and John Sayles as well as friends and crew members who worked with classic filmmakers, including Nicholas Ray, John Cassavetes and Sam Peckinpah.
• TCM takes pride in recognizing all cinematic accomplishments, no matter how small or large the director or studio and EDGE OF OUTSIDE will bring those triumphs to our viewers' attention.
• EDGE OF OUTSIDE is slated to premiere in July 2006 and will kick of a month-long movie festival devoted to the six classic filmmakers featured in the documentary.
EDGE OF OUTSIDE kicks off month-long tribute to filmmakers who have worked on the edges of Hollywood , airing every Wednesday evening in July.
Wednesday, July 5
8 p.m. EDGE OF OUTSIDE premiere
9:15 p.m. Faces (1968) (John Cassavetes)
John Cassavetes inadvertently invented the production and cinematic style most people think of when they consider independent film. In 1961, with his own money, he made his first film, Shadows . The film was semi-improvisational – and was shot on a grainy black-and-white film stock with low production values, featuring a cast of unknown actors. The film's style and theme of an interracial romance was a shocking departure from any film made up to that time and it introduced a radical new way for a filmmaker to express himself. The film received critical praise, and, as a result, Cassavetes was hired to direct two studio productions: Too Late Blues and A Child is Waiting. Cassavetes, however, was embittered by his experience with Hollywood studios and vowed thereafter to finance and control his own work. No one was more defiantly independent throughout his entire filmmaking career than John Cassavetes.
11:30 p.m. EDGE OF OUTSIDE encore
12:45 a.m. A Woman Under the Influence (1974)
3:30 a.m. A Child is Waiting (1963)
Wednesday, July 12
8 p.m. A Woman of Paris (1923) (Charles Chaplin)
Tired of interference from the major Hollywood studios and eager to control the profits from their films, Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith founded United Artists as an independent studio in 1919. It wasn't until 1923, however, that Chaplin made his first film for UA, A Woman of Paris . This film was a departure from Chaplin's prior work – it is a serious drama and he only has a cameo role. The film set new standards for silent acting and directing and was a significant influence on other filmmakers.
9:30 p.m. Queen Kelly (1929) (Erich Von Stroheim)
By 1929, Erich Von Stroheim was virtually banned by the major studios due to his tyrannical behavior. He already had several struggles with Hollywood , most notably when making Greed , his 1924 masterpiece that originally ran over nine hours long, eventually cut to two hours by MGM. He was admired by Gloria Swanson, who financed Queen Kelly (along with her lover, Joe Kennedy) and put Von Stroheim behind the camera to direct his screenplay. But he proved to be just as much of a problem for Swanson, who fired him during the filming. Swanson cobbled together what she could from the production in an attempt to cut her losses. Much of the film has been lost – this version uses still photographs to fill in where footage is missing. Queen Kelly was the last film Von Stroheim directed.
11:15 p.m. Meet John Doe (1941) (Frank Capra)
Capra had already pushed the boundaries of the studio system while he was at Columbia .
A believer that films should be the product of a singular vision, he fought for and received his own production unit within the studio, he expressed creative freedom while making his films and he participated in the profits they generated. Nevertheless, Capra often clashed with studio chief Harry Cohn and in the early ‘40s decided to form an independent studio (Frank Capra Productions) with Robert Riskin. Capra financed Meet John Doe by borrowing money from the Bank of America (using his house as collateral) and with a loan from Warner Brothers, who released the film.
1:30 p.m. Othello (1952) (Orson Welles)
Welles was given complete artistic control over Citizen Kane , his first film considered by many (including the AFI) to be the greatest film ever made, yet it was the last time he ever had complete creative control over a Hollywood film again. Insisting on creative freedom, Welles sought financing for Othello elsewhere, but the production was troubled from the beginning. The original backer, an Italian producer, had to abandon the project after declaring bankruptcy. Welles eventually took acting jobs so he could finance the film, but even then had to shut down the production during filming due to lack of funds. Eventually, he was able to complete the film and it went on to win the Grand Prize at the Cannes Film Festival.
Wednesday, July 19
8 p.m. On Dangerous Ground (1951) (Nicholas Ray)
Ray made most of his films in the ‘50s and is best known for his expressionistic use of framing and color and an eagerness to embrace characters who have trouble conforming to American society. In On Dangerous Ground , Ray deals with mental illness and human alienation. Ray had difficulty working within Hollywood and his films often received unwanted interference from the studios, but nevertheless he was able to create very distinctive films that have had an influence on today's independent filmmakers.
9:30 p.m. Killer's Kiss (1955) ( Stanley Kubrick)
Kubrick began his career financing, writing, directing and editing his own films in the mid-‘50s, eventually setting up his own production company. However, Killer's Kiss was the last time Kubrick had to finance his own film. From then on, he had the backing of the major Hollywood studios, including popular stars and large budgets, even after leaving Hollywood to go to England where he sought privacy and control over his own work. Although major Hollywood studios backed his films, Kubrick was always defiant, meticulously pursuing his personal vision.
11 p.m. EDGE OF OUTSIDE encore
12:15 a.m. The Naked Kiss (1964) (Samuel Fuller)
Frustrated as a scriptwriter in Hollywood , Fuller agreed to write low-budget westerns for a small production company under the condition that he could simultaneously write and direct some of his own material. His success with The Steel Helmet led to a contract with Fox, and for several years he jumped back and forth between major studio films and his own independent productions. By the early ‘60s, Fuller was exploring the ugliness beneath the surface of American culture in such a unique (some felt sensationalistic) way that he was forced out of the studio system completely for the remainder of his career.
2 a.m. Pat Garrett and Billy the Kid (1973) (Sam Peckinpah)
Peckinpah's career in Hollywood started in the late ‘50s as a writer and director for television westerns. He shifted over to theatricals, beginning with The Deadly Companion (also a western) in 1961. He made two more features in the mid-‘60s but his conflicts with the studio while making Major Dundee (1965) led to several years away from filmmaking. Peckinpah made a triumphant comeback in 1969 with The Wild Bunch , using extreme violence to explore themes of man's violent nature and moral relativity. However, he continued to battle with the studios (and with alcohol and drug addiction), particularly while making Pat Garrett and Billy the Kid. Ultimately MGM released a heavily edited version of the film that was a critical and box office failure. It wasn't until Peckinpah produced a “director's cut” in the late-‘80s that the film was rediscovered as a masterpiece.
Wednesday, July 26
8 p.m. Bonnie and Clyde (1967) (Arthur Penn)
Penn's career as a filmmaker coincided with the rise of the counterculture in America , starting with The Left-Handed Gun in 1958, a retelling of the Billy the Kid legend with less emphasis on the typical Hollywood “good guy vs. bad guy” storyline, instead presenting the young outlaw as a troubled, psychologically complex character. Penn went on to make several more films in Hollywood , including his masterpiece, Bonnie and Clyde . Warren Beatty, who made sure the filming was kept free from studio interference, produced the film. The sympathetic portrayals of the gangsters broke with Hollywood conventions and Warner Brothers initially buried the film. But it found a young audience who ultimately embraced the outlaws and Warner re-released it, this time to much more favorable critical and audience reaction.
10 p.m. The Conversation (1974) (Francis Ford Coppola)
Coppola started making low-budget films with independent producer Roger Corman, but he first found success after Paramount approached him to adapt Mario Puzo's novel The Godfather. That film led to a string of critical and box office triumphs that included The Godfather II, Apocalypse Now and The Conversation . By the early ‘80s Coppola decided to leave Hollywood and he founded Zoetrope Studios to produce his films. His efforts on his own, however, were unsuccessful and he soon returned to making films in Hollywood .
12 a.m. Nashville (1975) (Robert Altman)
Altman financed and produced his own work, but he also made successful films distributed by major Hollywood studios. Regardless of where the financing came from, he has remained ragingly stubborn in the creative control of his work and has refused to work in step with Hollywood conventions. The Hollywood community embraced him for the most part; much like Kubrick, many top actors and writers want to work with him for the integrity and creative freedom of his work.
2:45 a.m. Raging Bull (1980) (Martin Scorsese)
Like Coppola, Scorsese started making films for Roger Corman, where he learned to do so relatively inexpensively. He also had a close relationship with John Cassavetes, who suggested that he make the films he wanted to make about the people and subjects he knew best. This led to his first triumph, Mean Streets , about the life Scorsese experienced while growing up in Little Italy. Scorsese has stayed in the Hollywood studio system ever since, but has maintained a unique style that consistently addresses themes that are important to him such as violence and redemption .
EDGE OF OUTSIDE
Shannon Davis
Director and producer
Shannon Davis is senior vice president of original production for Turner Classic Movies (TCM). In this capacity, she oversees the direction and long-range planning for the network's short-form and long-form original production, as well as its studio activities, and continues to guide the network's on-air branding. Davis is developing a documentary department within TCM and is the director and producer of the network's first fully in-house produced original documentary, EDGE OF OUTSIDE.
Previously, Davis served as vice president/creative director, on-air, for both TCM and TCM Europe. Based in London for four years, she was responsible for all aspects of branding and promotions for the five TCM feeds in the 40 countries in which the channel is seen. In addition, Davis has won numerous awards, including honors from the Broadcast Design Association, Promax, Monitor Awards, Communication Arts and the New York Festival Awards. Davis was also part of the 1994 team that launched the TCM network.
Turner Classic Movies Turns the Lens Toward the
Fringe of Cinema in EDGE OF OUTSIDE, July 5
New Documentary Features Interviews with Martin Scorsese, Peter Falk, Spike Lee and Others
In a year that saw independent movies taking center stage at the Oscars â , Turner Classic Movies (TCM) explores the uncompromising vision, creative spirit and maverick determination of independent filmmakers, both classic and current, in its first fully in-house produced original documentary, EDGE OF OUTSIDE , premiering Wednesday, July 5, at 8 p.m. ET. EDGE OF OUTSIDE kicks off a month-long movie festival dedicated to filmmakers who have worked on the edges of Hollywood. A complete movie schedule is attached.
A tribute to the fight for artistic freedom in American independent cinema, EDGE OF OUTSIDE features original interviews with Martin Scorsese , Peter Falk , Ed Burns , Spike Lee , Henry Jaglom , Arthur Penn , Gena Rowlands and John Sayles as well as friends and crew members who worked with classic filmmakers, including Nicholas Ray, John Cassavetes and Sam Peckinpah. Offering an intimate look at the various issues, creative and personal, financial and emotional, this documentary illustrates the struggles endured by many classic filmmakers to create a personal vision, a vision mirrored by many contemporary directors today. EDGE OF OUTSIDE dispels the notion that an independent film is simply a low-budget film, instead defining the genre by the maverick filmmaker's ability to infuse his or her films with creative spirit and determination.
The documentary also illustrates the work of several maverick filmmakers including Orson Welles , Stanley Kubrick, Nicholas Ray , Samuel Fuller , Sam Peckinpah and John Cassavetes . Each of these directors took a different approach to producing films, whether part of the Hollywood studio system or not. Some have been able to survive within the system, others felt it necessary to be on their own and others were banished because of their fierce independence. However, their adamant drive to create a personal vision, despite many obstacles, exemplifies the significant influence they have had on the independent film movement of today.
“Classic films aren't represented only by box-office blockbusters and Oscar® nominees,” said Tom Karsch, executive vice president and general manager of Turner Classic Movies. “Turner Classic Movies takes pride in recognizing all cinematic accomplishments, no matter how small or large the director or studio, and bringing those triumphs to viewers' attention.”
EDGE OF OUTSIDE is directed and produced by Shannon Davis, senior vice president of original production for TCM and executive-produced by Chris Merrifield, vice president and creative director of TCM on-air creative.
Turner Classic Movies, currently seen in more than 70 million homes, is a 24-hour cable network from Turner Broadcasting System, Inc., a TimeWarner company. TCM presents the greatest motion pictures of all time from the largest film library in the world, the combined Time Warner and Turner film libraries, from the ‘20s through the ‘90s, commercial-free and without interruption. Expanding TCM's role as a curator of movie history, the network recently launched TCMdb, one of the Internet's most media-rich interactive movie databases. For more information, please visit www.tcm.com .
Turner Broadcasting System, Inc., a Time Warner company, is a major producer of news and entertainment product around the world and the leading provider of programming for the basic cable industry.
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