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When the New Yorker staff writer, Lillian Ross, met ‚le petite Truffaut‘, the French cinéaste, author, critic and pioneering film director of La Nouvelle Vague the fifth time in 1976, his English was surprisingly “terrific!”. Truffaut who seemed throughout resistant to pick up any English word far into his career, announced proudly that he had taken an intensive language course – which was basically reading the newspaper and watching the Watergate hearings on TV. Overwhelmed by the charming pronunciation Ross transcribed most of what he had to say phonetically for the magazine section ‘Talk of Town’: “To ze best of my recollection at zis point in time.” He could read books in English. “I read ‚Ze final Days,‘” he told us. “Extraordinaire!“ I also read ‘I remember Eet Well,’ by Vincente Minelli. But cannot read ze novels in English. Ze vocabulaire! Ver-ee difficult!” The beautifully written texts by Lilian Ross, shifting between interview and portrait, give you a very personal, touching sight of this extraordinary filmmaker. During these five encounters, they talk about his latest movies, but also how he spends his vacation (mostly he sits by the pool of the Beverly Hills Hotel, not going into the pool, not playing tennis, just sitting there or, visiting his long-time friend Jean Renoir from time to time), life in general, while he regularly updates the incredible number of movies he has seen (by the time they caught up in 1976 Truffaut had watched 5450 movies from the age of 11 years!). This small pocket book of grand journalism leaves you with only one desire: that this should never end! Also you probably will have difficulties to decide who to love more: Lillian Ross or François Truffaut? Frankly, maybe it doesn’t really have to end, find more of the Film Desk Books here. Buy

Between 1960 and 1976, The New Yorker staff writer Lillian Ross wrote a series of articles for the magazine’s “Talk of the Town” section covering François Truffaut’s visits to New York: for The 400 Blows in 1960, The Soft Skin in 1964, The Wild Child in 1970, Day for Night in 1973, and Small Change in 1976. This book collects these articles together for the first time.[expand title="more"]Lillian Ross was a staff writer at The New Yorker. She wrote often about moviemakers—including Clint Eastwood, Federico Fellini, Akira Kurosawa, Oliver Stone, Tommy Lee Jones, Wes Anderson, and Francis Ford Coppola. She lived in Manhattan and passed away in 2017 at the age of 99.[/expand] read Review

In 1949 Lillian Ross wrote her first “Talk of the Town” piece on director John Huston for The New Yorker. Over the next four decades she would write about him five more times for the magazine: [expand title="more"]from the set of The Bible in Rome in 1965, the 1969 shoot of The Kremlin Letter in Manhattan, the New York premiere of Fat City in 1972, production meetings for Escape to Victory in 1980, and the Brooklyn locations of Prizzi’s Honor in 1984. This book collects these six extraordinary pieces together for the first time, along with an additional essay that sees Anjelica Huston reminiscing abut her father from the set of her directorial debut Bastard Out of Carolina in 1996. Lillian Ross was a staff writer at The New Yorker who wrote frequently about moviemakers, but none more than John Huston. He was the main character in her classic 1952 book, Picture, about the making of The Red Badge of Courage. The book, still in print, is generally acknowledged to be the first time a long factual story was written in fictional form. Ross lived in Manhattan and passed away in 2017 at age 99.[/expand]