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PUBLISHER:
Another Frank Capra offers a new interpretation of the great hollywood director beyond the patriotic sentimentalist or the cynical opportunist that he has been taken for. Often cast as a cinematic simpleton or primitive, Capra's exploitation of the stylistic and narrative resources of cinema was, in fact, extremely self-conscious and adventurous in ways typical of artistic modernism. His modernism is also evident in his repeated and strong identification with female characters. Informed by recent work in genre theory and feminist psychology, Another Frank Capra shows Capra to be a "proto-feminist" director whose feminism has been entirely neglected by previous critics. |


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Last update this page October 3, 2007
Capra's 1939 letter to NYT about Directing
Capra's letter from April 2, 1939 to the New York Times:
"Them are only half a dozen directors in Hollywood today who are allowed
to shoot as they please and who have any supervision over their editing. "We all agree with you when you say that motion pictures are the director's
medium. That is exactly what it is, or should be. We have tried for three years
to establish a Directors' Guild, and the only demands we have made on the
producers as a Guild were to have two weeks' preparation for 'A' pictures, one
week preparation time for 'B' pictures, and to have supervision of just the first
rough-cut of the picture. "You would think that in any medium that was the director's medium the
director would naturally be conceded these two very minor points. We have
only asked that the director be allowed to read the script he is going to do and
to assemble the film in its first rough form for presentation to the head of the
studio. It has taken three years of constant battling to achieve any part of this. "We are now in the process of closing a deal between director and producer
which allows us the minimum of preparation of time, but still does not give us
the right to assemble our pictures in rough form, but merely to assemble our sequences as the picture goes along. This is to be done in our own time, meaning,
of course, nights and Sundays, and no say whatever in the final process of editing. "I would say that 80 percent of the directors today shoot scenes exactly as
they are told to shoot them without any changes whatsoever, and that 90 per
cent of them have no voice in the story or in the editing. Truly a sad situation
for a medium that is supposed to be the director's medium. "All of us realize that situation and some of us are trying to do something
about it by insisting upon producer-director set-ups, but we don't get any too
much encouragement along this line. Our only hope is that the success of these
producer-director set-ups will give others the guts to insist upon doing likewise."
At the time of this letter, Capra was President of the Director's Guild.
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