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The Oliver Stone Experience
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Review
"...it’s the must-have movie book of the fall...It’s a film school in book form – enlightening, entertaining, and essential." (Flavorwire)“. . . a lavish coffee-table book full of images and introspection. . .” (Parade online)“…definitive…everything you could possibly want to know about the filmmaker." (AM New York)". . . this lavish, beautiful book is as much a piece of serious criticism as it is an expression of pure movie love." (The Miami Herald)"Jammed with lengthy Q&As with two-time Oscar-winning director Oliver Stone, as well as news clippings, scripts, rare photos, and memos, Matt Zoller Seitz's 480-page book is, like the filmmaker and his movies, obsessive and captivating." (Variety online)“Seitz’s auteurist biography is kaleidoscopic in its dispensing of intimate photographs, archival images and pop culture iconography. Just as Stone’s own kinetic editing explodes in his films, so does the book conflate dynamic interviews and critical analyses with taut narrative urgency.” (MovieMaker)
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About the Author
Matt Zoller Seitz is the television critic for New York magazine and the editor in chief of RogerEbert.com. He is the author of The Wes Anderson Collection and The Wes Anderson Collection: The Grand Budapest Hotel. He lives in Brooklyn.
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Product details
Hardcover: 480 pages
Publisher: Abrams; First Edition edition (September 13, 2016)
Language: English
ISBN-10: 9781419717901
ISBN-13: 978-1419717901
ASIN: 1419717901
Product Dimensions:
10 x 1.5 x 12 inches
Shipping Weight: 6 pounds (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
10 customer reviews
Amazon Best Sellers Rank:
#326,642 in Books (See Top 100 in Books)
Comprehensive, fascinating production history and analysis via one of our greatest critics interviewing one of our greatest directors, with tons of incredible art and documentation. One of the best books on a director I've ever read - if not THE best.
I wish there were books this in depth about more directors. I've always like Oliver Stone, but he'd fallen off my radar until I heard an interview on the podcast Filmspotting with Matt Zoller Seitz. That led me to blind-buy The Oliver Stone Experience. Best blind-buy ever. It is an amazing dive into the mind of Oliver Stone, the time periods the movies were released, and the way they affected popular culture in their time. So much information (photos, essays, excerpts, reviews, etc.) that there is no way you will be disappointed. I love the movies and this is the pinnacle of books about directors. I
Essential for Stone fans. Magnificent. The best examination of his work since James Riordan's biography some years back...
Wonderful pop layout. Got this for my uncle and he just loves it.
I'd been waiting for a long time for a book like this to come out. I have more than a dozen books written about Oliver Stone and none of them compares to this magnificent work. I bought the hard cover edition in Strand in New York and the Kindle edition from Amazon. Yes, I bought it again so i could carry it everywhere. That's how good it is. It's one of the best in my collection (I have the Making of Space Odyssey - taschen limited edition (1000 copies), Kubrick's Napoleon book and others of that caliber. This one's placed among them. Oliver Stone is one of the great American directors of his generation, but his films go beyond the medium. He has re-written history and changed the way many Americans (and foreigners) understand the nation and its government. He makes us look at the side of many things through all the different layers. His movies (and interviews) help us understand the world through a multidimensional perspective. Complex Topics like war, power, polítics, mass media, the CIA, youth culture, patriotism and a long list of controversial subjects. Matt Zoller did an AMAZING work here. His book "TV- the book" is also a very very good. Looking forward to his next projects.
Very interesting book
The Oliver Stone Experience: a book that is meant to be, according to author Matt Zoller Seitz, an "Oliver Stone movie about Oliver Stone but it's a book." I can get what he means by the presentation as it's a MASSIVE book. It makes what he put together for The Wes Anderson Collection two years ago seem tiny by comparison, though they're both big books. It's not a coffee table book so much as like one of those long, long dining room tables that probably weighs 400 pounds and rests in some old monarch's castle from the medieval era.Stone faces the questions from Seitz - in an honest look at his career of dozens of films over 40+ years in the movies, certainly honest as possible, he has little choice to do so - that bring up the many, many, many, many, many criticisms he has received over his work, not so much artistically (though I'm sure there's some film critic still catatonic over Natural Born Killers out there) but in the ideas put forward, can't help but bring up this response.With the exception of the documentaries that Stone has made in the past 15 years, on the Middle-East conflict, Castro, South American presidents and, in what may be his most impressive and towering work since Nixon, The Untold History of the United States (and even there he still uses the "D" word), Stone emphasizes he makes dramatic movies because he LIKES drama and wants to put forward these topics like JFK, Jim Morrison, Vietnam, violence and the media, presidential power, drugs, even feminism occasionally (i.e. Heaven & Earth), into the framework of drama: characters dealing with conflicts both internal and external, and sometimes those two get more twisted than a pretzel factory.One of the things I like about this book very much is how Stone and Seitz not so much spar but have a spirited debate over certain issues: how women are depicted in his work; how drugs are meant to be represented; what does it mean to have conspiracy theories (Stone is uncertain in the book about 9/11 but stops short about calling that a conspiracy - he notes that he is most concerned about the effects, what's come of it, which is certainly more troubling to me); and what certain things *mean* as far as critical analysis. In hindsight this sort of thing maybe couldn't be helped, but in the Wes Anderson book there seemed to be at times when the author might look for things in the work that may (or may not) be there, and there'd be a repetitive "Hmm" response. That may just be the way it was, but it's a case where an artist comes clean only sometimes and it doesn't make for the most fascinating interviews (again, no one's fault exactly, just different temperaments or a case of fishing too far for themes and running things).Stone is open as can be and can be challenging, but in a way that's never unpleasant. There are many times he wants clarifications from Seitz, and it makes it into much more of a conversation usually than an interview, and the challenges come from both ways. It makes for a reading of an entire life and career where callbacks can happen in the latter chapters and notions brought up that make more sense, and in the earlier chapters things may come up about Stone personally or how he grew intellectually that will pay off later on. Some interview books are only about gathering trivia information about a filmmaker or artist. This is about seeing into an entire worldview; certainly some may not *agree* with all Stone says (there's times where things look so bleak to him it's amazing he can get up in the morning, politically/foreign-power-militarily-industrial-complex speaking), but seeing it all laid out makes for a page-turner.And part of it being so BIG and so fascinating to read through is that in-between the interviews are essays from Seitz (not unlike last time in the Anderson book, only here there's *footnotes from Stone* about certain things, maybe like the "vertical editing" of Stone's style in the 90's where a black-and-white clip comes in to bring other context to a moment), there's page after page of fantastic stills, special materials from Stone's archives, newspaper clippings, posters, pieces of propaganda, screenplay excerpts (Stone's notes add some extra context for movie junkies), and even bits of scripts we've never seen before like from "Break", the script ironically meant for Jim Morrison in 1971(!) And there are other essays with deeper analysis into, say, Stone's accuracy on Vietnam by Jim Beaver, or another essay dealing with the spiritual dimensions of his work that are hard to see (Hell, even THE HAND, his 1981 horror movie obscurity with Michael Caine, gets some love in an essay)At the center of it all is this man, Oliver Stone, who has been called many things - a genius, a crackpot, a hero, a villain, an a-hole, a nut, a dangerous man, a provocateur (believe it or not he doesn't want to be called this term - hell, he even apologized for comments he's made in the past, this comes up too) - but he's never disingenuous. There's not many moments, though there may be one or two I'm sure I glossed over on a first reading, where he doesn't lay it out on the line about possible faults in his character, or that may have come from his parents - they're such a big part of his book that also can't be overstated - but there's one more thing I appreciated very much: dealing with rejection as an artist and what that does to one's character.It's one thing to see a Kevin Smith dealing with his critics (or not dealing with them), but with Oliver Stone, a man who has won four Oscars and had at least five films that, adjusted for inflation, made over 100 million (including NBK), it's something that sticks out when he says how much it chips away when things don't turn out like they should in the evolution of a career. Imagine an MLK biopic from Stone, or a movie about the My-Lai massacre. Those haven't happened. Snowden, his latest film, barely got made after some massive rejections, and Platoon and Born on the fourth of July took 10 years each(!). And it's not even that he has thin skin - surely, by reading him here, he has skin like a rhino - but it made Stone seem more humbled, less like some Mad Anti-American Super-Crazy-Director-Man like he's been made out (or, on occasion, he makes himself out to be, whether intentional or not).Deep down, he's just like many other directors and artists and actors: being in a commercial medium AND getting what you want or need to say out there, if it doesn't immediately conform to the time, can be very, very, very hard. That's one of the things in reading this book that made me like the man more, and made for a completely absorbing reading experience.
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