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Irvin Kershner
Birthday:
29 April 1923
Birth Name:
Isadore Kershner
Height:
188 cm
Biography
[on directing Alec Guinness in Star Wars: Episode V - The Empire Strikes Back (1980)] He dissected every word, each gesture in a way only great actors do. It is the timbre, the subtle movements that make the difference. It's what makes actors great.
[on directing Alec Guinness in Star Wars: Episode V - The Empire Strikes Back (1980)] He dissected every word, each gesture in a way only great actors do. It is the timbre, the subtle movements that make the difference. It's what makes actors great.
[1969 comment on Joanne Woodward] Joanne, I'd say, is the best Actors Studio type of person. She makes the character a part of herself. She draws on her own resources. She deals with her own emotions. She doesn't impose something from the outside on what she's doing. She finds the solutions on the inside, and discovers a way of materializing it. She's a grea...
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[1969 comment on Joanne Woodward] Joanne, I'd say, is the best Actors Studio type of person. She makes the character a part of herself. She draws on her own resources. She deals with her own emotions. She doesn't impose something from the outside on what she's doing. She finds the solutions on the inside, and discovers a way of materializing it. She's a great, great actress who still hasn't reached the limit of her scale.
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It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.
It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.
The thing what you learn in directing is that no matter how complex the shooting, you have to remain sensitive to the people around you or the machine will ultimately take over. If you don't keep in mind the essential humanity of it all, technique will dominate.
The thing what you learn in directing is that no matter how complex the shooting, you have to remain sensitive to the people around you or the machine will ultimately take over. If you don't keep in mind the essential humanity of it all, technique will dominate.
I didn't believe in Eyes of Laura Mars (1978). I believed in the idea I began with, but I did not believe in what was imposed on me during its production.
I didn't believe in Eyes of Laura Mars (1978). I believed in the idea I began with, but I did not believe in what was imposed on me during its production.
[on why George Lucas asked him to direct Star Wars: Episode V - The Empire Strikes Back (1980)] Of all the younger guys around, all the hot shots, why me? I remember he said, "Well, because you know everything a Hollywood director is supposed to know, but you're not Hollywood". I liked that.
[on why George Lucas asked him to direct Star Wars: Episode V - The Empire Strikes Back (1980)] Of all the younger guys around, all the hot shots, why me? I remember he said, "Well, because you know everything a Hollywood director is supposed to know, but you're not Hollywood". I liked that.
I like to fill up the frame with the characters' faces. There's nothing more interesting than the landscape of the human face.
I like to fill up the frame with the characters' faces. There's nothing more interesting than the landscape of the human face.
[on RoboCop 2 (1990)] I saw RoboCop (1987) twice. I saw it when it first came out and then I ran it once on cassette and that was it. I never wanted to see it again. I felt that what I remembered, the residual memory, was enough. I wanted a different style of shooting. I wanted the character to go further than they did the first time. I was working towards a...
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[on RoboCop 2 (1990)] I saw RoboCop (1987) twice. I saw it when it first came out and then I ran it once on cassette and that was it. I never wanted to see it again. I felt that what I remembered, the residual memory, was enough. I wanted a different style of shooting. I wanted the character to go further than they did the first time. I was working towards an emotional base that would be true to "RoboCop" one year later.
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[on the Star Wars (1977) bonus DVD, speaking about Star Wars: Episode V - The Empire Strikes Back (1980)] I think it went beyond "Star Wars". You had some humor, you got to know the characters a little better. I saw it as the second movement in an opera. That's why I wanted some of the things slower. And it ends in a way that you can't wait to see or to hear...
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[on the Star Wars (1977) bonus DVD, speaking about Star Wars: Episode V - The Empire Strikes Back (1980)] I think it went beyond "Star Wars". You had some humor, you got to know the characters a little better. I saw it as the second movement in an opera. That's why I wanted some of the things slower. And it ends in a way that you can't wait to see or to hear the vivace, the allegretto. I didn't have a climax at the end. I had an emotional climax.
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Irvin Kershner
Irvin Kershner was born on April 29, 1923 in Philadelphia, Pennsylvania. A graduate of the University of Southern California film school, Kershner began his career in 1950, producing documentaries for the United States Information Service in the Middle East. He later turned to television, directing and photographing a series of documentaries called "Confidential File". Kershner was one of the directors given his first break by producer Roger Corman, for whom he shot Stakeout on Dope Street (1958). The main theme that runs through many of his films is social alienation and human weaknesses - although his biggest commercial success was the science fiction blockbuster Star Wars: Episode V - The Empire Strikes Back (1980). Irvin Kershner died at age 87 of lung cancer in his home in Los Angeles, California on November 27, 2010.
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