IN THE HOTLIGHT
Film Fusion
Mitch Williams, Ohio State
In an industry filled with people who live on
hype, Alan Parker is that rare individual whose
work speaks for itself. He has directed "Bugsy Ma-
lone'" "Midnight Express," "Fame," "Shoot the
Moon" "Pink Floyd-The Wall" and "Birdy." His
most recent work was directing "Angel Heart,"
which was just recently released on video in its
original, uncut version.
MW: Was there a certain moment when you were
younger when you realized that you wanted to make
film directing your life's work?
AP: Well, I had no sort of romantic ambition to be
a film director when I was younger. I came to film
late. What I did do was write. All I ever wanted
to be was a writer, and the writing later became
directing.
MW: Once you decided to be a film director, did
you feel very nervous that you wouldn't be able to
make a living in such a competitive field?
AP: No, I've had a pretty easy ride really. When
I was younger, I went into advertising, and I was
quite successful very quickly. It's a very egalitarian
business, advertising. If you've got half an idea,
you do okay. I was also quite fortunate that it was
the beginning of television commercials in Eng-
land, and so we started making little pilot films
in the basement of the agency where I worked.
Somebody could work the spectral lighting, and
somebody could work the cameras, and somebody
could work the nagra tape, and I was the only one
who couldn't do anything. So they said, "You'd
better say action and cut." And I said action and
cut, and that was it. There was no turning back.
I was bitten by the bug.

FINALS

Caught
On
Campus

Even after being attacked by sex-crazed
cheerleaders, the Stanford band keeps on blowing.
SKIMn Afdm _'1

U of Arizona student: "Gee Dad, I don't know. I
guess Ijust lost my head."

MW: A lot of your movies deal with the problems
of growing up in America. Do you find that especially
interesting?
AP: Yes, and I like the fact that young people like
my films. There's something good about that. Also,
if your films aren't just of a commercial nature
and you do attempt to say something as well, then
it's more important to talk to that age group than
any other, because you are challenging ideas.
MW: Are your films better accepted by American
youth than British youth?
AP: Yes, and I think British youth are very, very
strange. I don't have an "in" on that, and I don't
think anybody does.
MW: You were just given 18 million dollars to
make "Angel Heart;' and yet when you were growing
up in England you couldn't even afford to go to
college. Do you ever find it incredible that you've
come so far?
AP: Yes, I guess so. That's why I keep thinking
somebody is going to tap me on the shoulder and
say, "Hey, go back to where you came from. How
dare you spend all that money."
MW: What was it that drew you to making "Angel
Heart?"
AP: I think just the fusion of the two genres more
than anything else. I don't think I would have
attempted it if it was just a supernatural movie,
and I wouldn't have attempted it if it was just a
straightforward Chandleresque detective story. The
fact that it was actually fusing the two genres is
what made it interesting. Also the fact that someone
should sell their soul to the devil. I wanted to do
that as if it happened every day of the week, and
in the movie business it does happen every day. I
wanted to make it a believable thing, not larger
than life.
MW: One last question. Is there a certain piece of
advice that you can give to American college students
who are thinking about embarking on a career in
film?
AP: My only advice is that if I made it, anybody
can.
14 Fall 1987

Coming
Attrcions

Eric Jones, Founder of Black Fraternity at Vanderbilt
Campus Leaders
The Ones on Top
The New ROTC
Calendar Cadet Katie Dewey
A Night in the
Life of College
Thursday 6 p.m. to 6 a.m.
Panache

Cadet veteran Kane Uewey