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ON CREATIVITY: “…Creative people are better at recognizing relationships, making associations and connections, and seeing things in an original way—seeing things that others cannot see.” — from the new Atlantic article, “Secrets of the Creative Brain” at http://www.theatlantic.com/features/archive/2014/06/secrets-of-the-creative-brain/372299/
“Two legends of the UCLA family sit down together for a discussion about life and what it means to succeed and fail while working in competitive fields. Howard Suber, a professor at UCLA’s School of Film, Theater and Television for over 50 years, joins NBA All Star, UCLA alum and former Lakers forward Jamaal Wilkes for the conversation.”
After I delivered a speech at the University of Basel, Switzerland, last month, I did what is probably the longest interview of my life. It deals with how I got into film, my observations of changes in the industry and the UCLA film program during the past 50 years, and some thoughts about the current state of filmmaking and what the future might bring. It’s probably more than you’d ever want to know about me, but I’m printing it in its entirety below. http://xecutives.net/component/content/article?id=604
- Geschrieben von Christian Düblin
Howard Suber is one of the most experienced film specialists and UCLA lecturers. He helped establish and chaired the Critical Studies and PhD programs, the UCLA Film & Television Archive and the UCLA Producers Program. He has worked with thousands of film students, but also with Hollywood film industry specialists, famous screenwriters, producers and directors. Although he technically took early retirement 20 years ago, he has been invited back to teach every year since, and in the fall will begin his 50th year on the UCLA film faculty. Suber started to lecture very early on History of Film and also Film Structure and he published two books about movies and the film business. In a time when the film and movie industry was beneath the dignity of Harvard University as a field of study, Suber became an autodidact and, ran the student film club and was self-educated, mostly in European films, because among intellectuals and academics, American film was not considered worthy of serious consideration. In his interview with Christian Dueblin Howard Suber talks about his lecturer career, about his work with film students and he explains Hollywood patterns. Suber explains why American films is about film genres where the rest of the world is about film movements. Take a look behind the scenes of a big film industry, together with Howard Suber, author of the book “The Power of Film”. “Wise, kind, and direct. Howard Suber’s advice is as piercing as Don Corleone telling Michael who not to trust, and just as vital. “I LOVE this book!” that’s what David Koepp, screenwriter Jurassic Park, Mission Impossible, Spider-Man, War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull, says about the living film legend Suber. Read more
This is from the UCLA main news web site, discussing my recently being awarded a Dicksen Emeriti Professorship
Teacher, mentor and
master of making things happen
Howard Suber has played a pivotal role at the School of Theater, Film and Television, from creating an acclaimed archive to launching Hollywood careers
Noela Hueso/School of Theater, Film and Television | May 06, 2014
When Howard Suber was 16 years old and had just been named “Top Debater in the State of Michigan,” he boarded a Greyhound Bus in his hometown of Owosso, Mich., and headed for Cambridge, Mass., with an audacious plan: To walk into the admissions office at Harvard University, uninvited, and request to be interviewed for admission as a freshman.
It was a bold move, to be sure, but not surprising for those who know the witty and outspoken professor in the UCLA School of Theater, Film and Television (TFT), who has been named one of two UCLA recipients of the prestigious 2013-2014 Dickson Emeriti Professorship Award, the highest honor bestowed upon a retired University of California faculty member. Read more
The link here is to a long list of unmade or unfinished films by a good percentage of the world’s greatest filmmakers.
You can look at it as a sad commentary on how difficult the world of filmmaking is. Or you take some solace and perhaps even inspiration from the fact that even the greatest filmmakers have extreme difficulties getting their passion projects made. Read more