Before he was the Academy Awardndash;nominated director of The Last Picture Show (1971); Peter Bogdanovich (b. 1939) interviewed some of cinemarsquo;s great masters: Orson Welles; Alfred Hitchcock; John Ford; and others. Since becoming an acclaimed filmmaker himself; he has given countless interviews to the press about his own career.This volume collects thirteen of his best; most comprehensive; and most insightful interviews; many long out of print and several never before published in their entirety. They cover more than forty years of directing; with Bogdanovich talking candidly about his great triumphs; such as The Last Picture Show and Whatrsquo;s Up; Doc? (1972); and his overlooked gems; such as Daisy Miller (1974) and They All Laughed (1981).Assembled by acclaimed critic Peter Tonguette; also author of a new critical biography of Bogdanovich; these interviews demonstrate that Bogdanovich is not only one of Americarsquo;s finest filmmakers; but also one of its most eloquent when discussing film and his own remarkable movies.
#2953727 in eBooks 2015-01-19 2015-01-19File Name: B00SFTV9QC
Review
0 of 0 people found the following review helpful. You know you want it.By Rhett BallewBuy this book. Now. Especially if youre an experienced player. The overwhelming positive reviews speak for themselves. There are endless nuggets of gold for those of us looking for new ideas for your melodic sequence playing (Metheny; as you know; is a bonafide master of this). Intended for the experienced player; though. Some less than positive reviews complained that there are no chord symbols to provide context. Quite true. Again; the experienced player wont need them. Each etude is written in a particular key; G; Bb; Ab; etc.. An etude with #s and bs shows the outside harmony. Simple; really. There are also no fingerings (i.e. 1;2;3;4). No worries for the experienced player; right? Do you expect the book to play them for you? (!) Challenging? Yes. But you expected this; right? Buy it now. Clear out you woodshed (and your calendar). A lifetime of study. But; of course; all the greats are.0 of 0 people found the following review helpful. GREAT for StudiesBy Marmot MatthewThis is incredible. Dont expect to have a blast playing them but the exercises are excellent and quite musical. They will help you have a feel for soloing and improving. Highly recommended.5 of 6 people found the following review helpful. Good study materialBy Christopher JonesThis being the first guitar/music technique book I have purchased in a long time; I am so far pretty pleased. The dude bitching about the fact that there are no chord symbols; straight 8ths;etc; needs to get over it. The fact that these are all improvised warm up exercises that Metheny does is pretty remarkable; indeed; some sound very Bach-ian in their structure and while; yes; not having chord symbols to analyze the use of the scale or chord being played can kind be kind of frustrating (i.e."this is a G major 7 arpeggio; is this really supposed to BE GMaj7 or is it Em9"; etc.) if you listen (while you are playing through them) to what is played before and after then I think that anyone with enough years of playing as well as a solid foundation of basic harmony under their belt can come to their own conclusions about what is being played and in what harmonic context. Like he says at the beginning: these are basic ideas (for him) that might start off in one key (if any) and spin their way through others before ending. What more needs to be said other than that? Besides if one is harmonically advanced enough then THEY can come up with their OWN chord progressions! This might actually be more fun!The tab is quite an improvement over the other PM solo books ("Bright Size Life"; for one). Not only is the font larger (BSL is way too small); the finger placement - while they might seem a little unorthodox - certainly seems to make more sense. Besides if you have ever watched Pat play; his technique is pretty unorthodox anyway.Because I despise trying to read TAB and standard notation at the same time; I like to first read the regular notation and just play it how I would normally do it and then; if I have a question about how to execute a certain passage; Ill check the TAB to see if maybe something can be played a little easier or more efficient.Overall; this is a good book. Its just what I have needed to get me out of my stale practice routines and has even inspired me to come up with some of my own etudes. It also a great way (besides transcribing improvised solos on tunes) to see what makes Metheny "tick" musically and how he warms up before a gig.I also think that this goes along very well with Pat Martinos "Linear Expressions". These too are also etude-like but are intended to show how Martino uses his famous "minor-ization" technique over various chord changes; in all positions of the neck. No TAB however so; if you cant read; dont bother. However; if you cant read then what are you waiting for??Now; if only John Scofield would come out with something similar...
