Monte Hellman ( born Monte Jay Himmelman ) (born July 12, 1932 [1] , New York ) is an American film director , screenwriter , actor , film producer and editor . Among his famous the director’s works are the films “ Shootout ”, “ Escape to Nowhere ” and “ Two-lane Highway .” The latter was chosen for storage in the National Register of Films in 2012 [2] .
| Monte Hellman | |
|---|---|
| Monte Jay Himmelman | |
 Monte Hellman in 2013 | |
| Birth name | Monte Jay Himmelman |
| Date of Birth | July 12, 1932 (87 years old) |
| Place of Birth | New York , USA |
| Citizenship |  USA |
| Profession | filmmaker screenwriter actor producer editor |
| Career | 1959 - present time |
| Direction | Drama |
| IMDb | |
Biography
Early years
Monte Hellman's parents are from Missouri , his father is from Kansas City , his mother is from St. Louis. After the wedding, they moved to New York , where Monte was born. When he was six years old, the family moved to California - to Los Angeles , then to Palm Springs . My father had a small grocery store in New York, then in Los Angeles, and later he owned a gas station [1] .
Monte Hellman was interested in photography, cinema and theater from an early age. Monte staged his first performance, a small tragicomedy of his own composition, at the age of ten in a summer camp [3] .
Hellman studied theater art at Stanford University , where he took part in the production of two radio shows - “ War of the Worlds ” and “ Cherry Orchard ”. Then he devoted one and a half years to the study of cinema at the University of California at Los Angeles . According to Hellman, during his studies he was influenced by films such as “ Broken Shoots ” by Griffith and “ Descendant of Genghis Khan ” by Pudovkin , but the movie “ Place in the Sun ” by George Stevenson pushed him to choose the profession of film director [4] .
Theater
In 1952, Monte Hellman became one of the founders of a small theater in the suburbs of San Francisco , where he staged several performances [5] [6] . In 1955, he marries actress Barbour Morris (they divorced in 1958) and leaves the theater. The couple relocates to Los Angeles , where Hellman gets a job in the ABC installation department.
In 1956, Monte Hellman gained valuable experience as an apprentice editor while working on the TV series Medic ", But next year decides to leave the work of the editor and return to the profession of theater director. In Los Angeles, he puts on several successful performances, including Waiting for Godot . The theater closes next year, but this period is significant for Hellman's future career - he meets Roger Corman , Robert Towne and Jack Nicholson [7] .
Starting a movie career
- The Spirit of the Hive
- " Double life of Veronica "
- " Notoriety "
- Samurai
- " Lady Eve "
- “ Downed Idol ”, “ Third Man ”
- " Children of Paradise ", " Embankment of the Mists "
- " Great illusion "
- “ Scenes from married life ”
- Fellini's films: “ Eight and a half ”, “ Amarcord ”, “ Road ”, “ Nights of Cabiria ”
In 1958, Roger Corman , who by then already had some experience as a director and producer of several low-budget films, offered Monte Hellman a job at the newly created Filmgroup. In a 2011 interview, Monte Hellman recalls that collaborating with Corman had a great influence on the minimalist style of his films - Corman's strategy was to shoot a large number of films in a short time frame with a tight budget [9] . The essence of this strategy was to create a conveyor for the production of low-budget films, for the smooth operation of which Roger Corman needed the help of young filmmakers [10] . He gave the opportunity to start a career Monte Hellman, Francis Ford Coppola , Ron Howard , Martin Scorsese , James Cameron and many other young directors [11] . Corman gave them relative creative freedom, since an extremely low budget virtually eliminated the risk of commercial failure [note 1] .
The horror “The Monster from the Cursed Cave ” [note 2] , the first Monte Hellman film, shot in 1959, provided valuable experience, after which he decides never to return to the theater, and finally chooses the profession of cinematographer [12] [13] .
1960s
In 1960, Roger Corman asked Hellman to help director Harvey Berman work on the movie Wild Race . On the set, Monte Hellman meets Jack Nicholson , who will later star in his next five films [14] .
In 1962, Corman tried to sell several of his films to a television company. As a condition for the purchase, there is a requirement to increase the timing from sixty to seventy-odd minutes. Monte Hellman is shooting additional material for “Monsters from the Cursed Cave” and three films by Roger Corman [9] [15] [16] .
In 1963, Roger Corman instructed Hellman to finish work on the movie Fear . The original director, Francis Ford Coppola, was unable to meet deadlines and was suspended [16] . After finishing the work on “Fear,” Monte Hellman and Jack Nicholson work together on the script for the film “Epitaph” about a budding actor who is trying to earn money for an abortion for his girlfriend [17] [18] .
Filipino Films
Fred Roos spoke to Roger Corman asking him to help him work on a pair of low-budget films planned to be shot in the Philippines . Corman, in turn, offered to participate in the project to Hellman and Nicholson, promising in return to finance the filming of Epitaph. Monte Hellman, who had by this time been appointed assistant editor at Universal Studios , leaves her for a new project and goes to the Philippines. The first film to go to hell with the back door was about the American intelligence mission before the Philippine operation . Following him is the crime-adventure Flight to Rage , a script for which was written by Jack Nicholson.
Cult Westerns
After returning from the Philippines, Nicholson and Hellman again turn to Roger Corman about the Epitaph, but are refused - Corman claims that the script is "too European" and offers them to shoot a couple of Westerns. In early 1965, Jack and Monte, having received a small advance from Corman, set to work on scripts. Jack Nicholson is working on Escape to Nowhere , and Carol Eastman has taken up the Gunfight [19] .
Both films were very successful in France, where they were shown for a long time - 13 and 6–7 months, respectively [20] . In the USA, they were shown for some time only on television, and only hit the box office in 1971 in the wake of the growing popularity of Jack Nicholson [21] and eventually became iconic [22] , especially the first of them. The film "Shootout" famous American film critics Leonard Maltin and Jonathan Rosenbaum , the founder of the term " acid western ", Consider one of the first samples of this genre [23] [24] .
In 1966, Monte Hellman worked with Roger Corman on two of his films: montage Wild Angels , a scandalous film about a biker subculture, and took part in the production of St. Valentine's Day Massacre as an assistant director. In 1967, Hellman was one of the editors of the musical comedy “ The Leader "Scripted by Jack Nicholson and Bob Reifelson .
1970s
Two-lane highway
After several unfinished projects, Monte Hellman receives an offer to remove the Two-lane Highway road movie . The film receives positive reviews from critics [25] [26] , but it causes sharp dissatisfaction with the head of the film studio, does not receive any advertising and fails at the box office [27] [10] . Subsequently, the “ Two-lane highway ” will also become a cult [22] and will bring Monte Hellman a certain fame among film critics.
Also in the early 70s, Hellman met with screenwriter Stephen Gaidos . Subsequently, this acquaintance will develop into many years of friendship and cooperation in several films.
In 1973, Monte Hellman travels to Hong Kong to direct the action movie The Destroyer " [28] , but three weeks after the start of filming due to disagreements with producer Michael Carreras, he was forced to abandon further work on the film.
Filmed in 1974, “ Fighting Cock ” about a breeder of fighting cocks again does not bring commercial success and becomes the last film produced by Roger Corman. Film critic Jonathan Rosenbaum praised this film, and failed at the box office due to the fact that Corman tried to promote it as an exploitative movie [29] .
In the same 1974, ABC bought the rights to Sergio Leone 's famous spaghetti western “ For a Fistful of Dollars ”, filmed ten years earlier. At the same time, the task arises of adapting the film for the American audience - the main character, the nameless shooter, played by Clint Eastwood , had to match the image of the defender of law and justice. Monte Hellman is filming an opening five-minute episode [30] . In this episode, Eastwood's hero (an actor similar to him was found for shooting) finds himself in prison, where he is offered a pardon if he agrees to eliminate the problem of banditry in a neighboring city. Hellman then uses a similar episode in his own western, Love, Bullet, and Rage .
In 1977, immediately after the filming of the greatest movie about the Greatest about Mohammed Ali , director Tom Gris dies . Monte Hellman is invited to complete work on the film - he controls the editing of the film [31] .
In 1978, Hellman directed and edited his third western, Love, Bullet and Rage . Monte's father dies and the director devotes the film to him. Unlike the cult " Shootout " and " Escape to Nowhere, " this film is left unattended by critics.
In the same year, Monte Hellman was invited to "save" the next film called " Express Avalanche ". Director Mark Robson dies of a heart attack before finishing the film. Hellman has been filming missing scenes, special effects and editing for almost a year.
1980s
In 1981, Monte Hellman directed the short documentary film “Inside the Coppola Personality” about Francis Ford Coppola 's work “ With All My Heart ”.
The following year, Warren Oates , a close friend of Monte Hellman, starring in four of his films (Shootout, Two-Lane Highway, Fighting Rooster and Love, Bullet and Fury) dies of a heart attack.
After another series of unrealized projects, Monte Hellman takes part in the work on Robocop as a director of secondary episodes. Scenes filmed with his participation include the shooting of an OCP employee by the ED-209 robot, the chase of a bank robber by a Murphy and Lewis minibus, the episode with Robocop-Murphy returning to his former home and some others [32] .
In 1988, Hellman was given the opportunity to make the film “ Iguana ” based on the novel of the same name by Alberto Vazquez-Figueroa about a sailor with a disfigured face who proclaimed himself king of a desert island. At the Venice Film Festival , Monte Hellman was awarded the Bastone Bianco Award [33] for the critics of film critics for his work on this film, but he hasn’t shown it at the box office. The presence of only a small circulation on VHS has led to the fact that the film has long been a cinematic rarity. It became available to the general public after being re-released on DVD in 2001 [34] [35] .
The following year, Hellman worked on the low-budget horror movie Silent Night, Deadly Night 3: Better Watch Out! »At the request of his friend Arthur Gorson , for a long time trying to start a career as a film producer.
1990 - Present
After the film “Silent Night, Deadly Night 3” Monte Hellman leaves the profession of director for many years. In 1990, he acted as executive producer in Quentin Tarantino 's directorial debut, Reservoir Dogs . In the future, Monte Hellman manages to make a couple of documentaries, but the rest of the projects begun in the 90s were never completed.
In 2006, the horror - an almanac " Trapped ", A fragment called" The Stanley Girlfriend "directed by Hellman, was presented at an out-of-competition screening of the Cannes Film Festival [36] . Monte Hellman himself was the chairman of the jury of the festival.
In 2007, Monte Hellman was among 115 filmmakers invited to the American Academy of Motion Picture Arts and Sciences [37] .
In 2010, Monte Hellman returned to full-length cinema - scripted by Stephen Gaidos he shot the neo- thriller thriller Road to Nowhere , which became for him a "poetic declaration of love for cinema" [38] . The film is dedicated to Lori Bird , an actress from the “Two-lane highway” [note 3] [39] [40] . The Road to Nowhere was shown at several festivals, including the Venice Film Festival , where Hellman won a special jury prize for professional achievements [41] [42] [43] .
Monte Hellman is currently teaching film directing at the California Institute of the Arts [44] During a 2011 interview, Hellman mentioned his plans to make several more films, and called the thriller Love or Die the first thrilling project . [38] [40]
Creativity
Style
The play “ Waiting for Godot ” had a huge impact on me. I think that a particle of Becket is present in all my works, including in The Beast of the Cursed Cave.
Monte Hellman’s work is difficult to classify primarily because of the variety of genres [39] : category B horror, military action movie, several westerns , road movie , slasher and neonoir with elements of mysticism. [note 4]
Writer and film critic Yevgeny Meisel considers Monte Hellman’s films to be stories of two types of obsession - hero obsession (“Two-lane highway” and “Fighting cock”) or their relationship obsession, and a funnel of events that drag out heroes (“Shootout”, “Escape to Nowhere”, “Love, bullet and rage”, “Iguana”) [39] .
A description of a typical protagonist in Hellman’s films can be found in the Buster Keaton ’s first film, The Secret Sign " [46] :
Our hero appeared from nowhere - he was not going anywhere, he was just kicked out of somewhere.
Original textOur hero came from Nowhere - he wasn't going Anywhere and he got kicked off Somewhere.
One of the key features of Monte Hellman's directorial style is the use of landscapes. In “Shootout” and “Escape to Nowhere”, a lifeless desert surrounded by mountains is used to create a hint of a predetermined fate, to create an atmosphere of doom [46] . The pebbled surface of the island from the Iguana movie looks like the disfigured face of Oberlus, the protagonist. The Galapagos [note 5] volcanic island is uninhabited, Oberlus ideally fits into its hostile landscape, rejected by humanity and declaring war on it.
In an interview, Hellman explained that he always tried to place a certain landscape in the frame, not because of its natural beauty, but to create a specific context [47] .
Recognition
In one of his interviews, Monte Hellman himself modestly remarked that he did not consider himself a director of auteur cinema, noting that he always only tried to do his job well as a hired specialist in directing and editing [48] .
On the talk show " The Tonight Show " in 1973, American filmmaker Sam Pekinpa called Monte Hellman "America's best contemporary director" [49] , but in those years the director remained in the shadow of his colleagues filming box office movies. For many years, these and some other Hellman films were known only to a limited circle of film critics and colleagues: “Shootout” and “Escape to Nowhere”, the American audience could only occasionally see on TV, “Fighting Rooster” and “Love, bullet and rage "Positioned as an operational movie," Iguana "did not hit the box office at all.
The reason for the long breaks in working as a director was the numerous obstacles that Hellman faced trying to realize his own ideas: almost always he was forced to work on a modest budget and tight deadlines, many of his projects were rejected by producers at an early stage, and films already shot in for a long time remained little known. Brad Stevens, author of the monograph Monte Hellman: His Life and Films, counted about sixteen unrealized projects [46] . During these breaks, Hellman took up craft orders, often providing invaluable assistance to his fellow workers, performing editing or shooting additional scenes.
The peak of Monte Hellman’s work is considered by film critics as his first Western “ Shootout ” and the road movie “ Two-lane Highway ” [46] [50] [22] [51] . In the early 2000s, his films began to be re-released on DVD, and then on Blu-ray . A new surge of interest in the work of Hellman caused the appearance of the film " Road to Nowhere " in 2010. In 2012, the film “Two-lane Highway” was selected for storage in the National Register of Films of the Library of Congress of the USA as “being culturally, historically, or aesthetically significant” [2] .
Awards and nominations
- 1988 - Venice Film Festival , special prize of film critics “Bastone Bianco Award” (film “ Iguana ”) [52] .
- 2010 - Venice Film Festival , "Golden Lion" (nomination, the film " Road to Nowhere ") [41] .
- 2010 - Venice Film Festival , special jury prize for professional achievements ( Eng. Special Lion for the Overall Work ) [41] .
- 2011 - Palm Springs International Film Festival , prize "Maverick Award" [53] .
Filmography
| Year | Russian name | original name | Note | |
|---|---|---|---|---|
| 1959 | f | Monster from the Cursed Cave | Beast from Haunted Cave | producer |
| 1960 | f | Wild race | The wild ride | editor |
| 1961 | f | A creature from a sea of ghosts | Creature from the Haunted Sea | editor |
| 1963 | f | Fear (Terror) | The terror | producer |
| 1964 | f | За пригоршню долларов | Per un pugno di dollari | режиссёр вступительного эпизода, отснятого в 1974 году для показа фильма на американском телевидении |
| 1964 | f | В ад с чёрного хода | Back Door to Hell | режиссёр, монтажёр |
| 1964 | f | Полёт к ярости (Побег к ярости) | Flight to Fury | режиссёр, монтажёр, сценарист |
| 1966 | f | Перестрелка (Огонь на поражение) | The Shooting | режиссёр, продюсер, монтажёр |
| 1966 | f | Побег в никуда | Ride in the Whirlwind | режиссёр, продюсер, монтажёр |
| 1966 | f | Дикие ангелы | The Wild Angels | монтажёр |
| 1967 | f | Дикие мятежники | Wild Rebels | монтажёр |
| 1968 | f | Предводитель | Head | монтажёр |
| 1969 | f | Цель: Гарри | Target: Harry | монтажёр |
| 1971 | f | Двухполосное шоссе | Two-Lane Blacktop | режиссёр, монтажёр |
| 1974 | f | Разрушитель | Shatter | монтажёр |
| 1974 | f | Бойцовский петух | Cockfighter | режиссёр, монтажёр |
| 1975 | f | Элита убийц | The Killer Elite | монтажёр [54] [55] |
| 1976 | f | Опьянённый борьбой | Fighting Mad | монтажёр |
| 1977 | f | Величайший | The Greatest | супервизор монтажа |
| 1977 | f | Внезапная смерть | Sudden Death | режиссёр, монтажёр |
| 1978 | f | Любовь, пуля и ярость | Amore, piombo e furore (China 9, Liberty 37) | режиссёр, монтажёр |
| 1979 | f | Экспресс-лавина | Avalanche Express | режиссёр, монтажёр |
| 1981 | core | Внутри личности Копполы | Inside the Coppola Personality | режиссёр, монтажёр |
| 1987 | f | Кого-нибудь любить | Someone to Love | актёр (Ричард) |
| 1988 | f | Игуана | Iguana | режиссёр, сценарист, монтажёр |
| 1989 | at | Тихая ночь, смертельная ночь 3: Лучше поберегись! | Silent Night, Deadly Night 3: Better Watch Out! | режиссёр, сценарист, монтажёр, актёр (Дэнни, в титрах не указан) |
| 1992 | f | Mad Dogs | Reservoir Dogs | исполнительный продюсер |
| 1993 | f | Ящик смерти | The Killing Box | монтажёр |
| 1994 | f | Любовь, измена и воровство | Love, Cheat & Steal | монтажёр |
| 1998 | f | Los Angeles without a map | LA Without a Map | actor |
| 2006 | f | Пойманные в ловушку (фрагмент «Подружка Стенли») | Trapped Ashes | producer |
| 2007 | док | Где-то возле Салинаса: разговор с Крисом Кристофферсоном | Somewhere Near Salinas: A Conversation with Kris Kristofferson | producer |
| 2007 | док | Давай на три сотни: разговор с Джеймсом Тейлором | Make it Three Yards: A Conversation with James Taylor | producer |
| 2010 | f | Дорога в никуда | Road to Nowhere | director, producer |
| 2013 | док | Venice 70: Future Reloaded | Venice 70: Future Reloaded | режиссёр, фрагмент «Vive L'Amour» |
Notes
- ↑ В 1990 выйдет книга Кормана под названием «Как мне удалось сделать сотню фильмов в Голливуде и не потерять ни дайма» ( англ. How I made a hundred movies in Hollywood and never lost a dime ). Но несколько проектов Кормана всё же были убыточными, среди них — «Бойцовский петух» Монте Хеллмана.
- ↑ Сразу после окончания съёмок этого фильма на той же площадке и с тем же основным актёрским составом Роджер Корман снимает « Атаку горнолыжной бригады ". Подобная стратегия съёмки двух фильмов на одной площадке, позволяющая сэкономить бюджет, будет использована при съёмке следующих четырёх фильмов Монте Хеллмана.
- ↑ В 1979 году Лори Бёрд покончила с собой в возрасте 25 лет.
- ↑ Речь идёт о фильме « Дорога в никуда ».
- ↑ Действие фильма происходит на галапагосском острове Худ, но съёмки проводились на Лансароте , одном из островов Канарского архипелага
- ↑ 1 2 Stevens, 2003 , с. one.
- ↑ 1 2 Susan King. Classic Hollywood: counterculture road films (англ.) . The Los Angeles Times (3 January 2011). Дата обращения 28 апреля 2015.
- ↑ Stevens, 2003 , с. 2.
- ↑ Stevens, 2003 , с. 2—3.
- ↑ Stevens, 2003 , с. 3.
- ↑ Brian Albright, 2008 , с. 89.
- ↑ Stevens, 2003 , с. 4—5.
- ↑ Monte Hellman. Monte Hellman's Top 10 (англ.) . The Criterion Collection . Дата обращения 8 ноября 2015.
- ↑ 1 2 Dante A. Ciampaglia. Camera Q&A: Monte Hellman on his movies, locations, and shooting on DSLRs (англ.) . Camera In The Sun (2011). Дата обращения 8 ноября 2015.
- ↑ 1 2 Mark Savlov. Cars and Speed and Flight: The Continuing Career of Director Monte Hellman (англ.) . The Austin Chronicle (10 March 2010). Дата обращения 14 декабря 2015.
- ↑ Janet Maslin. Film: Quickie King And Man of Steel:Creators at Work (англ.) . The New York Times (7 April 1978). Дата обращения 22 ноября 2016.
- ↑ Stevens, 2003 , с. 5—6.
- ↑ Никита Смирнов. На расстоянии выстрела . Сеанс (2013). Дата обращения 8 ноября 2015.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 169.
- ↑ Stevens, 2003 , с. 14—15.
- ↑ 1 2 Horwath, Elsaesser, Elsaesser, 2004 , с. 170.
- ↑ Станислав Битюцкий. Филиппинское приключение . Сеанс (2013). Дата обращения 8 ноября 2015.
- ↑ Stevens, 2003 , с. 30—32.
- ↑ Stevens, 2003 , с. 49—50.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 176.
- ↑ Stevens, 2003 , с. 54-55.
- ↑ 1 2 3 Peary, 1981 .
- ↑ Jonathan Rosenbaum . Acid Western: Dead Man (англ.) . Chicago Reader (26 June 1996). Дата обращения 20 ноября 2015.
- ↑ Leonard Maltin, 1995 .
- ↑ Vincent Canby . Cross-Country Ride and a Chase in Spain (англ.) . The New York Times (7 August 1971). Дата обращения 3 мая 2015.
- ↑ Roger Ebert . Two-Lane Blacktop (англ.) . Chicago Sun-Times (1 January 1971). Дата обращения 20 ноября 2015.
- ↑ Stevens, 2003 , pp. 78-79.
- ↑ Stevens, 2003 , с. 91—92.
- ↑ Jonathan Rosenbaum . Cockfighter (1974 review) (англ.) (недоступная ссылка) (20 November 1974). Дата обращения 4 ноября 2015. Архивировано 26 октября 2015 года.
- ↑ Stevens, 2003 , с. 109-110.
- ↑ Stevens, 2003 , с. 115—116.
- ↑ Stevens, 2003 , с. 136—138.
- ↑ Iguana (1988) — Awards (англ.) . IMDB . Дата обращения 12 ноября 2015.
- ↑ Stevens, 2003 , с. 144—145.
- ↑ Iguana (англ.) . Mondo-Digital. Дата обращения 12 ноября 2009. Архивировано 10 апреля 2012 года.
- ↑ Stanley's Girlfriend (episode from Trapped Ashes) (англ.) . Festival de Cannes. Дата обращения 20 ноября 2015.
- ↑ Gregg Kilday. AMPAS lays out red carpet for 115 potential members (англ.) . The Hollywood Reporter (2007-6-19). Date of treatment November 21, 2015.
- ↑ 1 2 Kevin Thomas. Monte Hellman's long and winding road (англ.) . Los Angeles Times (14 May 2011). Дата обращения 22 ноября 2016.
- ↑ 1 2 3 Евгений Майзель. Облако-драйв . Сеанс (2013). Дата обращения 8 ноября 2015.
- ↑ 1 2 Fernando F. Croce. Interview: Monte Hellman (англ.) . Slant Magazine (11 August 2011). Дата обращения 22 ноября 2016.
- ↑ 1 2 3 Nick Vivarelli Coppola's 'Somewhere' wins Golden Lion (англ.) . Variety (11 September 2010). Дата обращения 25 мая 2011. Архивировано 21 октября 2011 года.
- ↑ Official Awards of the 67th Venice Film Festival (англ.) . La Biennale. — «Monte Hellman is a great cinema artist and minimalistic poet. His work has inspired this jury and it's our honour to honor him.».
- ↑ Борис Нелепо. Печать зла. Интервью с Монте Хеллманом . Сеанс (1 апреля 2013). Дата обращения 8 ноября 2015.
- ↑ Taking it All the Way. An Interview with Monte Hellman (англ.) . Noir City (2013). Дата обращения 22 ноября 2016.
- ↑ Charles Tatum, Jr., 1988 , с. nineteen.
- ↑ 1 2 3 4 Stevens, 2003 .
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 182.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 193.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 167.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 .
- ↑ Raymond Hardie. Still Shooting After All These Years (англ.) . The Stanford Alumni Association (2003). Дата обращения 8 ноября 2015.
- ↑ Iguana (1988) (англ.) . Our Film Festival, Inc.. Дата обращения 23 ноября 2015.
- ↑ Sophia Savage. Palm Springs Int'l Film Fest Opens with Deneuve and Depardieu's Potiche, Closes with First Grader (англ.) . indieWire (22 December 2010). Дата обращения 22 ноября 2016. Архивировано 21 октября 2011 года.
- ↑ Horwath, Elsaesser, Elsaesser, 2004 , с. 188.
- ↑ Matthew Thrift. Interview : Monte Hellman (англ.) (9 May 2011). Дата обращения 8 ноября 2015.
Literature
- Brad Stevens. Monte Hellman: His Life and Films . — McFarland, 2003. — 210 p. — ISBN 0-7864-1434-0 .
- Alexander Horwath, Thomas Elsaesser, Noel Elsaesser. The Last Great American Picture Show: New Hollywood Cinema in the 1970s . — Amsterdam University Press, 2004. — 391 p. — ISBN 9053566317 .
- Brian Albright. Wild Beyond Belief!: Interviews with Exploitation Filmmakers of the 1960s and 1970s. — McFarland, 2008. — 240 p. — ISBN 0786482508 .
- Danny Peary . Cult Movies. — Delta Books, 1981. — 402 с. — ISBN 0-517-20185-2 .
- John Wakeman. World Film Directors Part 2 (1945 - 1985) // World Film Directors. — Wilson Company, 1987. — 1205 с. — ISBN 0824207637 .
- Leonard Maltin . Leonard Maltin's Movie Encyclopedia. — Plume, 1995. — 992 с. — ISBN 0452270588 .
- Charles Tatum, Jr. Monte Hellman . — Festival d'Amiens, 1988. — 103 p. — ISBN 2873400633 .