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Mr. Cranky Interviews
John Sayles

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(Warning: This profile may contain objective information.)
Writer/Director:
- Return of the Secaucus Seven (1980)
- Lianna (1983)
- Baby, It's You (1983)
- The Brother From Another Planet (1984)
- Matewan (1987)
- Eight Men Out (1988)
- City of Hope (1990)
- Passion Fish (1992)
- The Secret of Roan Inish (1994)
- Lone Star (1996)
Screenplays:
- Piranha (1978)
- The Lady in Red (1979)
- Alligator (1980)
- Battle Beyond the Stars (1980)
- The Howling (1981)
- The Challenge (1982)
- Enormous Changes at the Last Minute (1983)
- The Clan of the Cave Bear (1986)
- Wild Thing (1987)
- Breaking In (1989)
- Men of War (1994)
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Teleplays:
A Perfect Match (1980)
Unnatural Causes (1986)
Shannon's Deal (1990)
Music Videos:
Born in the U.S.A. (1984)
I'm on Fire (1985)
Glory Days (1985)
Novels:
Pride of the Bimbos (1975)
Union Dues (1977)
Los Gusanos (1991)
Short Story Collection:
The Anarchists Convention (1979)
Nonfiction:
Thinking in Pictures: The Making of Matewan (1987)
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John Sayles' statement on "Lone Star":
"A lot of what this movie is about is history and what we do with
it. Do we use it to hit each other? Is it something that drags us down? Is
it something that makes us feel good? You can get six different people to
look at the Alamo and they have six different stories about what actually
happened and what its significance was.
"The same goes for your personal history. At what point do you say
about your parents, 'that was them, this is me. I take responsibility for
myself from this day on.' That's also what this movie is about.
"Texas is unique among the United States in that it was once its
own country. It was a republic formed in a controversial and bloody way.
And its struggles didn't end with the Civil War. There is a kind of racial
and ethnic war that has continued. That continuing conflict comes into the
clearest focus around the border between Texas and Mexico.
"I've crossed a lot of rivers, you know, but the funny thing about
looking at the Rio Grande is the revelation that there's something else on
the other side there. You cross and there are different customs, a
different feel, the music is slightly different -- even though they speak
Spanish on both sides. Both sides look pretty much the same from a
naturalist's point of view. So, it's something that man has created and
something he has to work to sustain.
"Ours is a story about borders. Towns on either side of a given
border generally have more in common with each other than they do with any
towns further into their own state. In a personal sense, a border is where
you draw a line and say 'this is where I end and somebody else begins.' In
a metaphorical sense, it can by any of the symbols that we erect between
one another -- sex, class, race, age."
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-- John Sayles
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Biography:
"Lone Star" is John Sayles' tenth feature film as a
writer-director-editor.
Sayles' first film was the counterculture classic "Return of the
Secaucus Seven," winner of the 1978 Los Angeles Film Critics award for
best screenplay. He followed this with "Lianna," the story of a woman
coming to terms with her lesbianism.
Sayles broadened his audience with the youthful romantic
comedy-drama "Baby It's You" and the satirical "Brother from Another
Planet," about a black extra-terrestrial whose ship crash lands in New
York City.
His next two projects were stories about which he had long been
passionate, "Matewan" and "Eight Men Out." Sayles had written both these
years before he was able to film them, but the projects were considered
commercially risky and he had difficulty raising the funds to make them.
In 1986, "Matewan," the story of a 1920 miners' strike in West Virginia
went before the cameras. The following year, the movie was a featured
entry in the Director's Fortnight at the Cannes Film Festival. Sayles also
wrote a book about the experience, entitled "Thinking in Pictures: The
Making of the Movie "Matewan." "Eight Men Out," based on the book by
Eliot Asinof which detailed the 1919 baseball World Series scandal, was
among Sayles' most popular efforts. It is also one of only two (the other
being Rosalie Fry's "The Secret of Roan Inish") scripts he has directed
based on material from another source.
Sayles scaled down his dramatic canvas for his next picture, the
intimate "Passion Fish," about the healing relationship between two
Louisiana women. Starring Mary McDonnell and Alfre Woodard, the film
earned McDonnell an Oscar nomination for Best Actress and Sayles a
nomination for Best Screenplay.
Among Sayles' published prose is an O. Henry Award-winning short
story and a novel, Union Dues, which was nominated for a National Book
Award. He has also written numerous scripts for other directors including
the feature "Breaking In" for director Bill Forsyth. For television, he
created the acclaimed television series "Shannon's Deal."
Sayles frequently works in Hollywood as a script doctor. In 1985,
Sayles received the John D. MacArthur Award, given to 20 Americans in
diverse fields each year for their innovative work.
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Mr. Cranky:
If you were offered the opportunity to live your life as another film person (actor, director, etc.) who would it be and why?
- John Sayles:
Flipper -- warm waters, lost of sushi, never had to do interviews.
What is the most bizarre experience you've had making a movie?
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Self-administered a blood transfusion from a Boston terrier once in an Okinawan movie.
What do you wish you could change about yourself and why?
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Five more inches of vertical leap. I'd be the only one playing above the rim at the local YMCA.
If you could work with any person in the film industry, past or present, actor, director or writer, who would it be and why?
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Spencer Tracy. Two takes and you're outta there.
You've been hired to remake "Casablanca." Who do you cast in the leads and why?
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Ellen Barkin and Irene Jacob -- to see what whould happen. John Waters.
Describe something in your career that you regret.
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Doing interviews.
What one person have you enjoyed working with the most?
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Joe Morton.
Of all the movies you have seen, which one made you the crankiest?
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"Youngblood Hawke."
What question do reporters and interviewers ask you that, when you come right down to it, is just really none of their goddamned business?
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Do I now or have I ever advocated the violent overthrow of the United States government?
Suddenly the film industry vanishes. What are you doing to make ends meet and do you enjoy it?
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Baggage handler, Honolulu airport. Depends on the hours.
What question are you just waiting to be asked or what other question would you like to see included on this sheet?
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If you put an infinite number of film reviewers in a room with an infinite number of word processors, how long would it take before they were all describing comic dialogue as "loopy"?
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