Louis Feuillade, born in 1873 in the Camargue, near Montpellier, was no one’s idea of a radical, although he ended up making some of the most radical movies—formally and politically, at least by implication—of the early silent era. He was a royalist Catholic with a military background; an ardent follower and defender of bullfighting, a specialty of his region; a fervent partisan of Karl Wilhelm Naundorff, one of the many people claiming to be the “lost dauphin,” Louis XVII. One of his cousins married a princeling, which made him kin to the House of Bourbon. He wrote poems all his life in the style of an academician of the 1880s. When, in 1898, he went “up” to Paris, like a Balzac character from the provinces, he found work as an accountant for a Catholic publishing house. He wrote for royalist and bullfighting journals until, in 1905, he was hired as a screenwriter by the fledgling cinematic production company Gaumont.
Making a Scene: Reflections on My Note-Card Method
The director of Amores perros breaks down his creative process with a selection of the note cards he used to construct the film’s character, mood, and rhythm.
Playing the Vampire: Six Performances That Draw Blood
The role of the vampire has given talented actors throughout film history—from Bela Lugosi to Catherine Deneuve—the chance to embody physical and moral extremity.
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