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Roman Polanski: Behind the Scenes of His Classic Early Films
Roman Polanski: Behind the Scenes of His Classic Early Films in Bloomington, MN
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Size: Hardcover
Between his 1962 debut
A Knife in the Water
and the 1968 blockbuster
Rosemary’s Baby
, Roman Polanski directed three movies—
Repulsion, Cul-de-Sac,
and
Dance of the Vampires
(a.k.a.
The Fearless Vampire Killers
)—that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the director's early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the camera—including direct access to the director—Young shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both
Repulsion
Cul-de-Sac
were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the director's words, "did their best to make me feel like a monster." Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subject—a rare look at a controversial artist in the act of creation.
A Knife in the Water
and the 1968 blockbuster
Rosemary’s Baby
, Roman Polanski directed three movies—
Repulsion, Cul-de-Sac,
and
Dance of the Vampires
(a.k.a.
The Fearless Vampire Killers
)—that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the director's early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the camera—including direct access to the director—Young shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both
Repulsion
Cul-de-Sac
were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the director's words, "did their best to make me feel like a monster." Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subject—a rare look at a controversial artist in the act of creation.
