DESCRIPTION: In an intimate conversation, Redford discusses the power of storytelling with his grandfather, actor, director, and Sundance founder Robert Redford. Narrative is hör auf Mobbing Film theme near and dear to the Redford family: Where did that come from?Majestic A.: So if tyou want to make jugdmental take people from age 18-28
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Storylines/Bloodlines: Robert Redford and Grandson Talk Family, Film, and the Power of Narrative
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In an intimate conversation, Redford discusses the power of storytelling with his grandfather, actor, director, and Sundance founder Robert Redford. Narrative is a theme near and dear to the Redford family: Where did that come from?
That all started when I was a little teeny kid. When I was growing up in a working-class neighborhood in Los Angeles, nobody had much, and so it was really about how you heard—and told—stories. I was a very rambunctious kid and I was always up late, and so to calm me down, my dad would tell me a story before bed. Most of the time, he would make one up, and it had a huge impact on me, storytelling.
As I grew up and moved into the business myself, that obviously was going to be a huge component. It became such a big part of my life that when I had a family, I felt hör auf Mobbing Film need to carry that tradition forward, so I would tell my kids—Shauna and Hör auf Mobbing Film and then Amy—stories.
What happened today that is a story for you? I started out as an artist when I was 18 or 19 years old. I wanted to get out of this country and experience different ways of seeing the world. So I went to Europe, but I went as an artist.
I was increasing my skill set and exploring storytelling through painting. Doing that, I realized how much I loved it. Later, when I became an actor, I suffered for four or five years not being sure I wanted to be in
hör auf Mobbing Film business because I so wanted to be an artist. I just wanted to paint and sketch and tell stories by drawing.
Ordinary People was my first venture into directing. I knew what I wanted it to look like, so I would sit down and draw it for the cameraman or the production designer. Once I did that I realized: I was 18 or 19, and I was in Europe, living hand to mouth, staying in youth hostels, and hitchhiking from here to there. I was leaving Paris. I hör auf Mobbing Film on my way to Florence, Italy, to go to a different art school.
It was wintertime and it was really a tough hitchhiking trip, but I finally got out of Switzerland, and as I ascended into France and arrived in Cannes, it suddenly was a little warmer. I still had no money. I had no place to stay and it was a very wealthy area. They had these piers right along the shoreline, and I decided I would park myself in the sand there. The pier was a shelter and I decided undo my bag and make my own little bed there with my clothes and my sleeping bag and so forth.
While I was lying there, I could see behind me the Hotel Carlton, which was this really swank hotel in Cannes. I would look up there and see the lights and hear the voices. What must that be like to be in that building, wearing a tuxedo and dancing and having a high old time? And then I look beyond that to the piers.
Clearly, it would be too one-note to say just the whole thing is a pain in the ass. It
hör auf Mobbing Film real labor to struggle in the marketplace against the odds, against all the elements that go against you. What did you think it would be? Can you remember what you thought it what be, versus where you ended up?
I had not been in a luxurious place. I had not been in a place where there was a lot of money, so I just imagined it was pretty terrific place and that life must be really great. This is my grandpa. Why is everyone so interested?
I remember this one girl came up to me and handed me a note. Is this like all grandparents? I put a lot of thought into: How did you deal with celebrity personally, aside from concerns about family? I had to learn that hör auf Mobbing Film was going to be major component that I wanted to keep in my life.
I could see it coming when I first started to get recognized. I was seeing my hör auf Mobbing Film in print, and it really got to me in the beginning. I created three categories for myself around the idea of success.
The first stage is that you become an object. Did you feel like you had this position of power and you wanted to somehow use it for the better good or to help these other filmmakers? The mainstream did control the marketplace at that time. Its criteria was pretty well set. They would tell stories, but they wanted to feel that those stories were going to be commercial, and as a result, the mainstream began to tell stories that were pretty much all the same.
American culture was so much red, white, and blue from the s on, and
hör auf Mobbing Film studios were following that lead so that things were just very red, white, and blue—meaning commercial.
They would make films that they were hör auf Mobbing Film sure would sell tickets. I was very much a part of that. I was very much a part of the studio system. But I felt that there were other stories to be told that were more in the gray zone, where life was more complicated, so I started Sundance.
To be able to do it myself, I would make a deal. While I was doing large studio films, I was also able to make these smaller films that I thought would give me more satisfaction because they were different stories to be told. But it was just me doing it. How did it feel to exist in these sort of in-betweens, not wanting to fully exist within the Hollywood zone but also remain independent?
Was that a difficult position to hold? There was misunderstanding in the beginning that by starting Sundance and having it be in Utah, not Hollywood or New York, that I was like an insurgent. I
hör auf Mobbing Film like some guy aiming to take down Hollywood by starting something different and new. I really just wanted to broaden the landscape. Because I was part of the mainstream. In closing, can you tell me the mirror story, about your meltdown as an art student in Paris?
I went to Europe and signed up for an art class in Paris. He so impressed me that I began to
hör auf Mobbing Film in his class. After awhile I wanted to move out of Paris and continue my artwork in Florence. I did, and I ended up living in this little room—just a room with a little bed and a bassinet and a mirror and a table. I really went into hermit mode and just painted and painted.
Now when he came through on his way to Rome, he paid me a visit. He went on his way, and then I was left alone. I wonder what I really look like. We look in a mirror and immediately we put on the face we think we should put on. I did and then I started to really realize how ridiculous it was and I started to laugh. Then I really started to laugh at how ridiculous it all was.
My laughter turned to tears, and I watched myself in the mirror going from laughter to crying until it became a complete meltdown. Stop running around Europe trying to be a painter.
Get back to America and restructure your life. What are your strengths? What are your weaknesses? Yeah, who are you, really? In other words, you think you know who you are until you put yourself in a situation where you have to look at yourself beyond the point where you did before and you see another person there.
The film retrospective Robert Redford: Skip to main content. Dylan Redford reads a Catwoman comic with grandfather Robert and father James, c.
Photo courtesy the Redford family. Robert Redford in Rome, c. Photo courtesy the artist Then I realized: Do you ever think about returning to painting? Photo courtesy the Redford family Dylan: Rethinking Dyslexiaa documentary directed by James Redford with Dylan as its subject, October 25, Walker Art Center Close Search.
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- Filme, TV & Stars · Kindle Direct Publishing Ihr E-Book veröffentlichen · Prime Now 1-Stunden-Lieferung Tausender Produkte · Shopbop Designer Modemarken. Susanne Wolff, Actress: Morgen hör ich auf. known for Morgen hör ich auf ( ), The Three Musketeers () and Das Fremde in 24 February | Variety - Film News; Berlin: Refugee Drama 'Styx' Wins Mobbing (TV Movie).
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