John Sayles

In Yellow Earth, John Sayles introduces an epic cast of characters, weaving together narratives of competing agendas and worldviews with lyrical dexterity, insight, and wit. When rich layers of shale oil are discovered beneath the town of Yellow Earth, all hell breaks loose. Locals, oil workers, service workers, politicians, law enforcement, and get-rich-quick opportunists—along with an earnest wildlife biologist—commingle and collide as the population of the town triples overnight. Harleigh Killdeer, chairman of the tribal business council of the neighboring Three Nations reservation, entertains visions of "sovereignty by the barrel" and joins forces with a fast-talking entrepreneur. From casino dealers to activists and high school kids, everyone in the region is swept up in the unsparing wave of an oil boom. Sayles’s masterful storytelling draws an arc from the earliest exploitation of this land and its people all the way to twenty-first-century privatization schemes. Through the intertwining lives of its characters, Yellow Earth lays bare how the profit motive erodes human relationships, as well as our living planet. The fate of Yellow Earth serves as a parable for our times.

It’s 1897. Gold has been discovered in the Yukon. New York is under the sway of Hearst and Pulitzer. And in a few months, an American battleship will explode in a Cuban harbor, plunging the U.S. into war. Spanning five years and half a dozen countries, this is the unforgettable story of that extraordinary moment: the turn of the twentieth century, as seen by one of the greatest storytellers of our time. Shot through with a lyrical intensity and stunning detail that recall Doctorow and Deadwood both, A Moment in the Sun takes the whole era in its sights—from the white-racist coup in Wilmington, North Carolina to the bloody dawn of U.S. interventionism in the Philippines. Beginning with Hod Brackenridge searching for his fortune in the North, and hurtling forward on the voices of a breathtaking range of men and women—Royal Scott, an African American infantryman whose life outside the military has been destroyed; Diosdado Concepcíon, a Filipino insurgent fighting against his country’s new colonizers; and more than a dozen others, Mark Twain and President McKinley’s assassin among them—this is a story as big as its subject: history rediscovered through the lives of the people who made it happen.

John Sayles is the very paradigm of the contemporary independent filmmaker. By raising much of the funding for his films himself, Sayles functions more independently than most directors, and he has used his freedom to write and produce films with a distinctive personal style and often clearly expressed political positions. From The Return of the Secaucus Seven to Sunshine State, his films have consistently expressed progressive political positions on issues including race, gender, sexuality, class, and disability. In this study, David R. Shumway examines the defining characteristic of Sayles's cinema: its realism. Positing the filmmaker as a critical realist, Shumway explores Sayles's attention to narrative in critically acclaimed and popular films such as Matewan, Eight Men Out, Passion Fish, and Lone Star. The study also details the conditions under which Sayles's films have been produced, distributed, and exhibited, affecting the way in which these films have been understood and appreciated. In the process, Shumway presents Sayles as a teacher who tells historically accurate stories that invite audiences to consider the human world they all inhabit.

Part of the "Conversations with Filmmakers" series, these interviews span Sayles's 20-year career as a writer, director, and sometimes actor. Photos. Filmography.

Interviews with John Sayles who worked on such widely varied projects as The return of the Secaucus seven; Baby, it's you; Brother from another planet; Matewan; Passion fish; Piranha; Alligator; The howling; Apollo 13; City of hope, Lone star; Shannon's deal.

In 1980, art house audience word of mouth about an unusual new movie, Return of the Secaucus Seven, launched the career of director John Sayles and with him the era of the independent filmmaker. Sayles has remained a maverick, writing, directing, editing and even acting in his own films. He has directed such diverse films as The Brother from Another Planet, Matewan, Eight Men Out, Passion Fish, and Lone Star, and received two Academy Award nominations. Here is the chronicle of Sayles' career--including the story of his inauspicious beginning as a second-string actor, and his work in fiction, theatre, music videos and television. The author argues that the importance of Sayles' signature plain visual style has been overlooked. A chapter is devoted to each of Sayles' feature films, offering background material on production funding, a plot sketch, an analysis of important characters, and a look at the language, setting, and politics. Each chapter also traces Sayles' technical development--his camera work, editing, musical arrangement and mise-en-scene. The book includes a complete filmography and a bibliography.

His name is synonymous with "independent film," and for more than twenty-five years, filmmaker John Sayles has tackled issues ranging from race and sexuality to the abuses of capitalism and American culture, aspiring to a type of realism that Hollywood can rarely portray. This collection offers unprecedented coverage of Sayles's craft and content, as it deploys a rich variety of critical methods to explore the full scope of his work. Together the essays afford a deeper understanding not only of the individual films-including his 1980 The Return of the Secaucus Seven (named to the National Registry) and the recent Limbo and Men with Guns-but also of Sayles's unusual place in American cinema and his influence worldwide. The focus of Sayles's films is frequently on peoples' lives, not on stories with tidy endings, and often a main goal is to alert viewers of their complicity in the problems at hand. One might assume his style to be content driven, but closer inspection reveals a mix of styles from documentary to postmodern. In this anthology, a set of international scholars addresses these and many other aspects of Sayles's filmmaking as they explore individual works. Their methodological approaches include historical and industry analysis as well as psychoanalysis and postcolonial theory, to name a few. Sayles Talk is both an in-depth and wide-ranging tribute to the "father" of independent film. In one volume, readers can find discussions of most of Sayles's films together with a comprehensive introduction to his film practice, an annotated list of existing literature on Sayles, and information on resources for further inquiry into his fiction, film, and television work. Film students as well as seasoned critics will turn to this book time and again to enrich their understanding of one of America's great cinematic innovators and his legacy.

What choices--creative, practical, and technical--make a movie what it is? Here a gifted writer and filmmaker takes us behind the camera and provides a full description of the movie-making process.When John Sayles turned from writing fiction to making movies, he did so with little help from Hollywood: Return of the Secaucus Seven, Sayles's first movie as director and writer, was produced with 60,000 of his own money. Many films later, he still works outside the studio system and guides every phase of his productions.Now Sayles has written an illuminating book about the complex choices that lie at the heart of every movie. Using the making of his film Matewan as an example, he offers chapters on screenwriting, directing, editing, sound, and more. Photographs, sketches, and the complete shooting script illustrate this engaging account of how Sayles's curiosity about a coal miners' strike in the town of Matewan, West Virginia, became a screenplay--and then a movie.