In fact, Lumet's use of the city became more than just location – he turned New York into a character just as vital and alive as Frank Serpico, Howard Beale or Sonny Wortzik. By refusing to "go Hollywood," he instead became strongly identified with the city of his youth, New York, the place where he filmed a great majority of his films. Because of his visual economy, strong direction of actors, vigorous storytelling and use of the camera to accent themes, Lumet produced a body of work that could only be defined as extraordinary. Films like "Twelve Angry Men" (1957), "Dog Day Afternoon" (1975), "Network" (1976) and "The Verdict" (1982) were more than just classics – they became cultural fixtures that transcended generational demands. There would have been blood on the street." -Sidney Lumet, The Hollywood Reporter New York Special Issue, June 10, 1997.Ī consummate workaholic who helmed vibrant films well into his eighties, Sidney Lumet laid claim to being one of the most revered and most imitated directors of all time. And all I could think of, with the attacks on Marty, a Catholic fellow, was, 'Thank God I didn't do it!' That's all they needed was a Jew to have directed it. Then, of course, Marty did it wonderfully. On a movie he might have made: "Well, I had 'The Last Temptation of Christ', Nikos Kazantzakis' book, under option for about three years, then dropped it. Whatever I'm contributing to it from my own psyche I don't think is very interesting to anyone, because it's not very interesting to me." -Sidney Lumet in Daily News, May 19, 1997. But I, from that kind of New York left wing upbringing, I look at the outside for sources of unhappiness. He is intensely self-involved and trying to figure out, 'why am I an unhappy Jew?' I'm not belittling that. Comparing himself to another NYC filmmaker Woody Allen: "The world dealing with is really his own inner world.
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