Bert McCoy's
"MyTeaching Resources"
English 9-12
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    • Film Studies 2019-2020 >
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        • Film Study Narrative Design
        • The Hero's Journey >
          • What is an Archetype?
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        • Mise En Scene >
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        • The Legend of Bagger Vance/The Gita >
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        • Meet Joe Black >
          • Death Takes A Holiday 1934
        • Alfred Hitchcock >
          • Alfred Hitchcock
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          • Dial M for Murder
          • Psycho >
            • Psycho 1960
            • Ed Gain Psycho
          • The Birds
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            • Disturbia
          • Vertigo >
            • Vertigo 1958
          • Rope
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          • Notorious 1946
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          • North by Northwest 1959
          • To Catch a Thief/ Hitchcock
          • The 39 Steps 1935
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        • Marathon Man
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        • 42 The Jackie Robinson Story
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          • it's a Wonderful Life
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        • I Am Legend
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          • H.G. Wells
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        • Forever Strong Rugby >
          • Forever Strong
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        • Goal The Dream Begins
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          • The Good, The Bad, and the Ugly
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          • 12 Angry Men 1957
          • Casablanca >
            • Casablanca
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          • Strangers on a Train/ Hitchcock >
            • Strangers on a Train/ Hitchcock
          • The Maltese Falcon
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          • Charlie Chaplin
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        • Blade Runner 2049 >
          • Blade Runner
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          • Top 25 Cult Films:
          • Screenwriting software
        • Films To Consider: >
          • Breathless, by Jean-Luc Godard (1960)
          • Interstellar
          • What Dreams May Come
          • Powder
          • Forrest Gump
          • Mr. Holland's Opus >
            • Vimeo Short Films
            • Sketchbooks for Class
          • The Shining
          • Breakfast at Tiffiffany's
          • Indiana Jones
          • Rain Man
          • French Kiss
          • Silence of the Lambs
          • The Hunger Games/Quotes >
            • Suzanne Collins
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            • The Hunger Games
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            • Catching Fire
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            • The Hunger Games/ Characters, Facts, Themes,
          • The Last Samurai
          • In the Mood for Love
          • Seabiscuit
          • Malcolm X
          • 3 Days of the Condor 1975
          • Das Boot
          • Crimson Tide
          • U-571
          • The Hunt For Red October
          • Mr. & Mrs. Smith
          • Promised Land
          • Wonder Woman 2017
          • Planet of the Apes Films
          • The Secret Life of Walter Mitty
          • A Fist Full of Dollars
          • The Conformist >
            • The Conformist
          • Peter Sellers
          • Gladiator
          • The Last Emperor 1987/ Bertolucci
          • Phenomenon 1996
          • Back to the Future
          • The Butler
          • Contagion 2011
          • Speed Racer
          • The Rainmaker
          • Remember the Titans
          • In the Mood for Love
          • 1984 George Orwell
          • Lord of the Rings Films
        • Citizen Kane >
          • Citizen Kane #2
        • The Perks of Being a Wallflower
        • They're Here!
        • The Wild Wild West! >
          • John Wayne / True Grit
          • Clint Eastwood/ High Plains Drifter
        • The Pride of the Yankees 1943
      • German Expressionism in Film >
        • Fritz Lang
        • Dadaist Films
      • Film as Social and Cultural History
      • Filmmaker IQ
      • National Archive Films
      • Atlas Shrugged /Ayn Rand
      • 2016-17 Film Play List
      • Scary Movies >
        • Horror
        • Flowers in the Attic/ Parental Responsibilities
        • Ghost of the Lagoon by Armstrong Sperry
        • Frankenstein 1910 Silent Movie
        • Free Movies
        • My Favorite Directors...Best Directors >
          • My Favorite Actors
      • Dreamworks
      • How to find the theme (s)
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      • Film Lighting Terms and Techniques >
        • Film Lighting
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      • Film Studies/ Film as Literature (FAL) >
        • filmsite.org
        • Classics Movies #1 >
          • Classic Movies #2
        • Buster Keaton
        • Buster keaton vs Charlie Chaplin
        • Sidney Portier Movies
      • Film Techniques and Terminology
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      • Stages and Archetypes of the Hero's Journey
      • October Sky
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      • Stephen Fry
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      • From Weak to Strong Movies
      • The Secret Life of Bees
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      • Sports Movies >
        • A River That Runs Through It >
          • Fly Fishing Quotes
        • Money Ball >
          • Money Ball #2
        • Dogville
        • Goal / History of soccer >
          • Goal (page two)
        • Teamwork Movies
        • www.ronaldothefilm.com
        • We Are Marshall
        • Pele
        • Chariots of Fire
        • Remember the Titans
      • Lance Armstrong Doping
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      • Madame Bovary
  • Bert McCoy Quotes 1
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    • Bert McCoy Non-duality Quotes
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  • English 9 Curriculum Map 2018-19
    • Siddhartha >
      • Siddhartha Vocabulary Words
    • English 9 Unit 1 >
      • Video Games >
        • Video Gaming
        • Video Games #2
        • Game Programmer
        • Video Game Jobs
        • Video Games/Presi/Slideshare
      • Video Games
      • Story Telling /Moth
      • 10 Rules/Carmichael
    • The Cast of Amontillado
    • The Absolutely True Diary of a Part-Time Indian >
      • The Absolutely True Diary of a Part-Time Indian Vocabulary Words
    • Direct and Indirect Characterization
    • Overly Sarcastic Productions The Classics
    • English 9 Unit 2 >
      • Food >
        • BBC Fast Food Baby
        • BBC The Truth About Food
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        • GMOs
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        • Food
        • Food
      • Richard Wright/Blackboy >
        • Black Boy by Richard Wright
      • The Age of the Essay Paul Graham
    • English 9 Unit 3 >
      • Siddhartha >
        • Siddhartha
        • The Odyssey Vocabulary Words >
          • The Odyssey Movie
          • Create a Myth Assignment
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          • Freewill vs Determinism quotes
          • Freewill vs Determinism
          • Greek Gods
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          • Odyssey
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          • The Odyssey Presentations
      • Greek and Roman >
        • Untitled
        • What is theater?
        • Ancient Rome
        • The Gladiator Graveyard
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        • Rome/History/BBC >
          • Marcus Aurelius
          • The Stoics
          • Metal Detecting Roman/Greek
        • Oedipus The King >
          • Oedipus the King/Prezi
        • Homer, The Iliad
        • The Norse Gods
    • English 9 Unit 4 >
      • Graffiti >
        • Bansky
        • Bansky Art Sold fo
        • Street Art
        • The Top Street and Graffiti Artists to Watch in 2015
        • Graffiti Analysis
        • Anamorphic Graffiti Illusions by Odeith – Fubiz
    • Romeo and Juliet
    • English 9 Unit 5/ Poetry >
      • Various Poets
    • English 9 Other >
      • English 9 Essay
  • English 12 2017-18
    • Restorative Justice >
      • Juvenile Justice Essay Resources
      • Adam Foss
      • Racial Profiling >
        • Racial Poetry
        • Racial Profiling
      • Racism
      • Bullying #1
      • Race/Racism/Bullying
      • Jim Crow Museum
      • What Would You Do?
      • Bullying
      • Bullying
    • Eng 12/ Life after high school >
      • Personal Statement
      • Vision Board Assignment >
        • Vision Board Project
      • UC Writing Prompts/Journals
      • Hidden Intellectualism by Gerald Graff
      • Job Applications/Business Letter
      • Interview Questions and Answers >
        • Interview Q & A
        • Interview Q & A
      • Job Seeking/Resume/Q and A
      • FAFSA
      • Siddhartha by Hermann Hesse
    • Unit 2 Week (3-5) "College Application Essay" >
      • Commencement Speeches #1
      • Commencement Speeches #2
      • Great Speeches
    • Zoot Suit >
      • Zoot Suit 2
    • 1984 Language, Gendetr, and Culture in George Orwell's 1984 >
      • 1984 Key facts, characters, themes, motifs, and symbolism
    • Brave New World 2016 >
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      • Gender, Language, and Identity
      • Brave New World Character Name meanings
      • BNW Vocabulary
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      • Brave New World Vocabulary Words
      • Brave New World 2016 2
      • The Perennial Philosophy/Huxly
      • Mystic Quotes
      • Papaji Advaita Vedanta
      • Nissargadatta
      • Vedanta Advaita Quotes
      • Kristnamurti Quotes
      • Sola BNW
      • Iron Maiden/ BNW
    • Into The Wild 2016-17
    • Into the Wild/ 11/15 >
      • Into the Wild/ Characters >
        • Into The Wild/Characters >
          • Into the Wild/Themes, Characters
      • Into the Wild/ Vocab
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      • Into The Wild/ Glossary
      • Into the Wild/ Quiz 1
      • Into the Wild/Jon Krakauer >
        • Is Ignorance Bliss?
        • Into the Wild/ Essential questions
        • Into the Wild/20/20 >
          • Into the Wild/Eckhart Tolle
        • Chris McCandless Articles/Outside Magazine
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        • Into the Wild
        • Into the Wild/The Big Two-hearted River/Nick Adams
        • Into the Wild/Who Am I
        • Into the Wild/Pierre Bezuhov/From War and Peace
        • Into The Wild/Various
        • Into the Wild/2015/Rush
        • Into the Wild/Tolstoy
        • Into the Wild/Springsteen
        • Into the Wild/Jack London
        • Into the Wild/Emerson
        • To Build a Fire/Jack Londen
        • Into the Wild/Louis L' Amour
        • Into the Wild/Thoreau
        • Into the Wild/Boris Pasternak
        • Into the Outdoors
        • Into the Wild/Alaska Denali
        • Into the Wild/Snowboarding
        • Into the Wild/2014/15/Supertramp
        • Into the Wild/Vocabulary
        • Into The Wild/Themes >
          • Into the Wild/Themes
        • Into The Wild/Glossary
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        • Into the Wild
        • Into the Wild (Prezi)
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        • Into the Wild /Movie Questions
        • Into the Wild/ Q&A
        • Into the Wild/ Climbing Videos
        • Into the Wild/Moose
    • Standards
    • English 12 Syllabus
    • English 12 2016-17 >
      • English 12a Final Essay
      • Letter To Myself >
        • Letter to Myself
        • Letter to Myself
    • English 12 Essay 2015
    • History of the English Church >
      • History of English
      • History of English
      • The History of English >
        • BBC Anglo-Saxons >
          • Anglo Saxons >
            • Anglo Saxon Lyre
            • Anglo-Saxon The History of English
            • Worst Jobs in History (Middle Ages)
            • The Worst Jobs in History--The Dark Age - Part 1-6
            • The Worst Jobs In History - 1x03 - Tudor
            • The Worst Jobs In History--Roman & Anglo-Saxon
            • The Worst Jobs In History--Medieval
            • The Worst Jobs In History--Tudor
            • The Worst Jobs In History--Stuart
            • The Worst Jobs In History--Georgian
            • The Worst Jobs In History--Victorian
            • The Worst Jobs In History--Urban
            • The Worst Jobs In History--Royal
            • The Worst Jobs In History-- Industrial
            • The Worst Jobs In History--Maritime
            • The Worst Jobs In History--Rural
            • The Worst Jobs In History--Christmas
            • The Medievil Mind >
              • The Medieval Belief
              • The Medievil Treasures BBC
              • The Medieval Power
              • Age of Conquest
              • The Crusades
              • The Black Plague
              • AEngla Land
              • Treasures of the Anglo-Saxons
              • The Staffordshire Hoard
            • Beowulf >
              • In Search of Beowulf
              • Beowulf PPt Presentations
              • British Literature Learning Videos >
                • Paganism vs Christianity
                • The Germanic Tribes
                • Beowulf & the Anglo-Saxons (1-8)
            • The Canterbury Tales
        • Language
    • English 12 Reading >
      • Epic of Gilgamesh Audio 2000 BC.
      • Sir Gawain and the Green Knight Late 14th-century
      • The Wife of Bath's Tale 1405-1410 from canterbury Tales
      • The Passionate Shepard
      • Shakespeare 1564-1616 >
        • Shakespeare/ Tudor England
        • Novels/Plays >
          • Hamlet's, "To Be or Not to Be"
          • A Midsummer Night's Dream
          • Macbeth
          • Macbeth
          • Macbeth Act by Act
          • Shakespeare Poems
          • Globe Theater
          • Shakespeare Sonnets
          • Sonnet 1
          • Sonnet 1 Blog:
          • Sonnet 18
          • Sonnet 29
          • Sonnet 29 Blog:
          • Sonnet 75
          • Sonnet 75 Blog
          • Sonnet 130
      • Romeo & Juliet/ Shakespeare 4/15 >
        • Romeo & Juliet/ Shmoop Resources
        • Shakespeare Glossary
        • Shakespeare's Globe
        • Quotes about Shakespeare >
          • Shakespeare Quotes
          • Shakespeare Castles
        • Romeo & Juliet/ Characters
        • Romeo & Juliet/ Themes, Motifs, Symbolism
        • Elizabethan Clothing
        • Royal Shakespeare Company
        • Romeo and Juliet 1
        • Romeo and Juliet 2
        • Romeo and Juliet 3
        • Romeo and Juliet/ 60 Second
    • Six Centuries of Verse: Metaphysical & Devotional Poets >
      • Ben Johnson
      • John Donne
      • Andrew Marvell >
        • Jonathan Swift
        • A Modest Proposal
      • To His Coy Mistress
    • Romanticism 1790-1850 >
      • Romantic Spirit
      • Mysticism
      • William Blake
      • William Wordsworth
      • Samuel Taylor Coleridge
      • John Keats
      • Percy Bysshe Shelley
      • Mary Shelley
      • Lord Byron
      • James Joyce
  • My Favorite People
    • Favorite Artists >
      • Brian Dettmer Book Cutting
      • Bansky
      • Julian Schnabel
      • Phillip Guston
      • David Salle
      • Robert Motherwell
      • Picaso
      • Raushenburg
      • Francisco Clemente
      • Joseph Beuys
      • Cy Twombly
      • Jean Michel Basquiat
      • Keith Haring
      • Kenny Scharf
      • Kaws
      • Sun Xun
      • L' Arte
      • Richard Serra
    • AESOP
    • Adyashanti
    • Maya Angelou
    • Jane Austin
    • James Baldwin
    • Bansky Quotes
    • Coleman Barks
    • Joseph Beuys
    • Harold Bloom >
      • Harol Bloom/ How to read and why
    • Jorge Luis Borges
    • Robert Bly 1 >
      • Robert Bly 2
    • David Bowie
    • Ray Bradberry >
      • There Will Come Soft Rains
      • Usher II
      • The Veldt
      • Marionettes Inc.
      • Fehrenheit 451
      • Fahrenheit 451 Vocabulary
      • Fahrenheit 451 Quotes
    • Russell Brand >
      • Russell Brand
    • David Brooks
    • Barbara Brodsky
    • James Brown
    • Buddha >
      • Buddha
    • Warren Buffet
    • James Cameron
    • Albert Camus
    • Jack Canfield
    • George Carlin
    • Lewis Carrol
    • Caroline Casey
    • Paulo Coelho/Alchemist >
      • The Alchemist by
      • Paulo Coelho
    • John Coltrane >
      • John Coltrane
    • Steven Covey >
      • Steven Covey
      • The 7 Habits of Highly Effective People/Steven Covey
    • Charlie Chaplin
    • Noam Chomsky
    • Deepak Chopra >
      • Ask Deepak
      • Deepak Chopra
    • Winston Churchill
    • Mihaly Csikszentmihaly
    • Ram Dass
    • Simone De Beauvoir
    • Anthony De Mello
    • Daniel Dennett
    • Shanti Devi
    • Junot Diaz
    • WALT DISNEY QUOTES
    • Fyodor Dostoyevsky >
      • Fyodor Dostoyevsky/ The Brothers Karamazov
    • Carol Dweck/Mindsets
    • Bob Dylan >
      • Bob Dylan
    • Thomas Edison Quiz
    • Albert Einstein >
      • Albert Einstein
    • T. S. Eliot
    • Ralph Waldo Emerson
    • Jane Eyre
    • Anneliese Marie Frank
    • William Faulkner
    • F Scott Fitsgerald >
      • The Roaring 20's
      • F Scott Fitzgerald 2014-15
      • The Great Gatsby
    • Benjamin Franklin
    • Robert Frost
    • Stephen Fry >
      • Stephen Fry
    • Neil Gaiman
    • Dan Gilbert
    • Malcom Gladwell
    • Johann Wolfgang von Goethe
    • Gurdjieff
    • Steven Hawking /black Holes
    • Hafez/Hafiz #1 >
      • Hafez/Hafiz Poems #2
      • Hafez/Hafiz #3
      • Hafez/Hafiz #4
      • Hafez #5 >
        • Hafiz Poems #7
      • Hafez Poems #6
      • Hafez Poems #8
    • Thich Nhat Hanh
    • Tyrone Hayes
    • Ernest Hemingway
    • Hermann Hesse >
      • Siddhartha Quotes
    • Christopher Hitchens
    • HOU HSIAO-HSIEN
    • Langston Hughes >
      • Langston Hughes/ Poems
      • Langston Hughes
    • Aldous Huxley >
      • Brave New World 4/15 >
        • Secret Societies >
          • The Knights Templar
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          • The Rosicrucians
          • The Illuminati
          • The Carbonari
        • BNW/ Chemtrails vs Contrails
        • BNW/ Unit Plan
        • BNW/ 2015
        • BNW/ TED
        • BNW/ William Blake/Doors of Perception
        • BNW/ Details #1
        • BNW/ Details #2
        • BNW/ Soma= DMT?
        • BNW/ Futuristic Movie Trailers
        • BNW/ Dystopia vs Utopia
        • BNW vs 1984
        • BNW/ Orwell vs Huxley
        • BNW/ Noam Chomsky
        • BNW/ Huxley Complete Works
        • BNW/ Vedanta and Huxley
        • BNW/ Advaita Vedanta
        • BNW/ Bohemian Grove
        • BNW/ Corporate Deceit
        • BNW/ Shakespeare and Religion by Huxley
        • BNW/ Geo-Engineering
        • BNW/ About Aldous Huxley
        • BNW/ Doors
        • BNW/ Conspiracy?
        • BNW/1984 Synthetic Telepathy
        • BNW/ May 13th
        • BNW/ Transhumanism
        • BNW/ What is DMT? Soma?
        • BNW/ Psychological Warfare
        • BNW/ NWO
      • Brave New World 2014 >
        • Brave New World 2014 >
          • Brave New World #5 2014
          • Oligarcy
          • Transhumanism
          • Agenda 21
          • Inequality For All
          • Inequality For All
          • Brainwash Update
          • Globalization
        • Brave New World Quotes
        • Brave New World >
          • Brave New World #2
          • Brave New World #3
          • Brave New World #4
          • enotes/Brave New World
          • Brave New World Vocabulary Words
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JFK is a 1991 American historical legal-conspiracy thriller film directed by Oliver Stone. It examines the events leading to theassassination of President John F. Kennedy and alleged cover-up through the eyes of former New Orleans district attorney Jim Garrison (Kevin Costner).
Garrison filed charges against New Orleans businessman Clay Shaw (Tommy Lee Jones) for his alleged participation in aconspiracy to assassinate the President, for which Lee Harvey Oswald (Gary Oldman) was found responsible by a government investigation: the Warren Commission.
The film was adapted by Stone and Zachary Sklar from the books On the Trail of the Assassins by Jim Garrison and Crossfire: The Plot That Killed Kennedy by Jim Marrs. Stone described this account as a "counter-myth" to the Warren Commission's "fictional myth."
The film became embroiled in controversy. Upon JFK's theatrical release, many major American newspapers ran editorials accusing Stone of taking liberties with historical facts, including the film's implication that President Lyndon B. Johnson was part of a coup d'état to kill Kennedy. After a slow start at the box office, the film gradually picked up momentum, earning over $205 million in worldwide gross. JFK was nominated for eight Academy Awards (including Best Picture) and won two for Best Cinematography andBest Film Editing. It was the most successful of three films Stone made about the American Presidency, followed later by Nixon withAnthony Hopkins in the title role and W. with Josh Brolin as George W. Bush.
Principal photography[edit]The story revolves around Costner's Jim Garrison, with a large cast of well-known actors in supporting roles. Stone was inspired by the casting model of the documentary epicThe Longest Day, which he had admired as a child: "It was realistic, but it had a lot of stars ... the supporting cast provides a map of the American psyche: familiar, comfortable faces that walk you through a winding path in the dark woods."[3]
Cinematographer Robert Richardson was a week and a half into shooting City of Hope for John Sayles when he got word that Stone was thinking about making JFK. By the time principal photography wrapped on City of Hope, Richardson was ready to make Stone's film. To prepare, Richardson read up on various JFK assassination books starting with On the Trail of the Assassins and Crossfire: The Plot That Killed Kennedy.[32]
The original idea was to film the opening sequence in 1.33:1 aspect ratio in order to simulate the TV screens that were available at the time of the assassination, then transition to 1.85:1 when Garrison began his investigation, and finally switch to 2.35:1 for scenes occurring in 1968 and later. However, because of time constraints and logistics, Richardson was forced to abandon this approach.[32]
Stone wanted to recreate the Kennedy assassination in Dealey Plaza. His producers had to pay the Dallas City Council a substantial amount of money to hire police to reroute traffic and close streets for three weeks.[33] He only had ten days to shoot all of the footage he needed and so he used seven cameras (two 35 mm and five 16 mm) and 14 film stocks.[32] Getting permission to shoot in the Texas School Book Depository was more difficult. They had to pay $50,000 to put someone in the window from which Oswald was supposed to have shot Kennedy.[33] They were allowed to film in that location only between certain hours with only five people on the floor at one time: the camera crew, an actor and Stone. Co-producer Clayton Townsend has said that the hardest part was getting the permission to restore the building to the way it looked back in 1963. It took five months of negotiation.[33]
The production spent $4 million to restore Dealey Plaza to 1963 conditions.[34] Stone utilized a variety of film stocks. Richardson said, "It depends whether you want to shoot in 35or 16 or Super 8. In many cases the lighting has to be different."[35] For certain shots in the film, Stone employed multiple camera crews shooting at once, using five cameras at the same time in different formats. Richardson said of Stone's style of direction, "Oliver disdains convention, he tries to force you into things that are not classic. There's this constant need to stretch."[32] This forced the cinematographer to use lighting in diverse positions and rely very little on classic lighting modes. The shoot lasted 79 days with filming finished five months before the release date.[36]
Robert Richardson, ASC and Oliver StoneFew filmmaking partnerships have produced a mutual resumé as creatively and critically successful as that of cinematographer Robert Richardson and writer/director Oliver Stone. In the dozen years since their first pairing on the documentary-flavored 1986 film Salvador, a compelling exposé of the civil war in El Salvador, the two men have explored a diverse array of human conditions and events. Their pictures together have not only displayed an evolving technical virtuosity, but a raw emotional power that has propelled several of them beyond the realm of popular culture and into the national spotlight.
Indeed, many of these films became artistic political statements that will forever be linked with their subjects. The stories of veterans re-experiencing the horrors of Vietnam and weeping in the darkness while watching Platoon (1986), the firestorm of controversy surrounding the "counter-mythology" of JFK (1991), and the debates regarding the nature of violent imagery in the media satire Natural Born Killers (1994) will not soon be forgotten. Meanwhile, the pictures Wall Street (1987), Talk Radio (1988), Born on the Fourth of July (1989), The Doors (1991), Heaven & Earth, (1993) Nixon (1995), and U-Turn (1997), have each sparked discussion, deliberation and controversy: exactly what art is meant to achieve.
Richardson has also been widely honored for his achievements, earning an Academy Award for JFK, Oscar nominations for Platoon and Born on the Fourth of July, five ASC Outstanding Achievement Awards nominations, and three IFP/West Independent Spirit Award nominations.
While recommending Richardson for membership in the American Society of Cinematographers in 1992, cameraman Allen Daviau, ASC succinctly wrote, "[Richardson's] association with Oliver Stone is one of those historic director/cinematographer collaborations reminiscent of Griffith/Bitzer, Eisenstein/Tissé, or Stevens/Mellor, in which an extensive series of films results. For each such collaboration [with Stone], Bob has achieved a new look, a new texture, while maintaining one of the most dynamic moving-camera styles that I have ever seen."
A native of Cape Cod, Richardson grew up in Massachusetts and later enrolled at the University of Vermont, where he became an avid movie fan and was particularly influenced by the work of Ingmar Bergman. Pursuing his interest in cinematography, Richardson schooled at the American Film Institute under the guidance of such master ASC cameramen as George Folsey Jr., Sven Nykvist and Nestor Almendros. After graduation, he found work doing inset and second-unit work, but he primarily shot documentaries.
In 1985, Richardson photo-graphed a documentary in El Salvador for England's Channel 4, spending a month each with both government troops and guerrilla forces. It was this work that caught the eye of Oliver Stone, to whom Richardson had been recommended for the director of photography position on Salvador, which would become the cameraman's first theatrical film. During the production, Stone was impressed with both Richardson's work and sensitivity to the subject matter, and began to discuss with him his ideas about making Platoon, a project based on his own combat experiences. "I was honored," the cinematographer noted in the April 1987 issue of AC. "Oliver had been carrying Platoon around in his head for 10 years, ever since he'd returned from Vietnam. I knew it was a very personal and important film for him."
With this foundation laid, Richardson and Stone continued to forge their relationship over the course of subsequent productions. The cameraman would later note, "I've become very spoiled by Oliver because of the material I get from him. I have very high expectations for the subject matter that I shoot. He also brings a lot of passion to his work." Only a few months later, the duo would be filming Platoon in the dense jungles of the Philippines, where they battled the heat, dust, bugs, and other difficulties of filming in the bush. Their efforts paid off, resulting in a 1987 Best Picture win that helped to re-open discussion about the Vietnam War.
In the coming years, the duo would again revisit the Vietnam era, first by exploring the transformation of Ron Kovic from soldier to antiwar activist in Born on the Forth of July, and later, the life of Le Ly Hayslip, a Vietnamese woman whose life is painfully destroyed and rebuilt in Heaven & Earth. For both pictures, the cameraman utilized an evolving visual language to reflect the characters' unique perspectives.
A signature technique that Richardson has utilized while working with Stone is the interweaving of textured imagery in order to amplify emotions and accent specific imagery. Super 8 reversal stocks, black-and-white 16mm, and various video formats are intertwined with vintage stock footage and silky-smooth 35mm color anamorphic photography, and then carefully blended by Stone and his expert editors. These methods were used to poetic effect in JFK, which shifts between past, present and fictional passages while exploring the assassination of John F. Kennedy in an impressionistic style. This photographic strategy was taken to new heights in Natural Born Killers, a fractured crazy-quilt of images that reflect the warped minds of the tale's serial-killer protagonists.
Interestingly, NBK proved to be a significant hurdle for Richardson, and tested the relationship that he and Stone had built, proving that even the most successful collaborations are not without difficulty. In the November 1994 issue of AC, the cinematographer remarked, "The situation was, quite clearly, that I didn't want to do the film. I simply didn't have the level of respect that I'd had for the written material on, say, Born on the Fourth of July or JFK. Both of those aroused me in a great deal of historical respect and intellectual curiosity."
Stone admitted that he freely played the "friendship card" in enticing the reluctant Richardson to join the production. "I feel a lot of love for Bob; he's a friend, and I've grown with him over the years," the director explained. "He was in a strange place on this movie. I was in the middle of a divorce, so I was in a difficult place myself. I asked him to stay on because I was feeling very vulnerable."
The cameraman eventually took the assignment, but conceded that he "only agreed to do the film out of love for Oliver and our relationship; he's like an older brother." Richardson added, however, that "once I began the process, it truly became a nightmare for me."
The stress that rose from these from extreme personal and professional dilemmas manifested itself in Richardson's work, compelling him to push for ever-more delirious cinematography. "In the end though, all of the strife was what provided me with the creative juices to do my work," he explained. "Had I been in love with the material, I might not have been so aggressive in my approach; my angst wouldn't have been as much a part of the camerawork."
Stone found the production equally cathartic, commenting, "What makes me happy is that Bob seems excited by the results. He was in contradiction with himself, but I think that gave his work a lot energy. At first I'm sure he was thinking, "I'll just do this to make Oliver happy, then I'll forget about it.' But now I think he's really proud of his work, and he should be, because it's outstanding."
Later, while working together on Nixon, the filmmakers reflected on the nature of their friendship, with Stone remarking, "We know each other like a husband and wife do. We fight. We disagree. But it doesn't get so emotional that we lose our bond. It was something we felt right from the beginning. It was one of those situations where someone walks into the room and you just know that he's going to be connected to you in this life."
"The long-term friendship creates a strong article of faith," Richardson confirmed. "It can get tough at times. I've been married for 10 years and that's been tough at times, too. But it's also as fulfilling as [a relationship] can get. It's like that with Oliver. It won't get any better."
— David E. Williams

    ​
    ​Roger Ebert December 20, 1991   |  
    Oliver's Stone's "JFK" builds up an overwhelming head of urgency that all comes rushing out at the end of the film, in a tumbling, angry, almost piteous monologue - the whole obsessive weight of Jim Garrison's conviction that there was a conspiracy to assassinate John F. Kennedy. With the words come images, faces, names, snatches of dialogue, flashbacks to the evidence, all marshaled to support his conclusion that the murder of JFK was not the work of one man.

    Well, do you know anyone who believes Lee Harvey Oswald acted all by himself in killing Kennedy? I don't. I've been reading the books and articles for the last 25 years, and I've not found a single convincing defense of the Warren Commission report, which arrived at that reassuring conclusion. It's impossible to believe the Warren report because the physical evidence makes its key conclusion impossible: One man with one rifle could not physically have caused what happened on Nov. 22, 1963, in Dallas. If one man could not have, then there must have been two. Therefore, there was a conspiracy. Oliver Stone's new movie "JFK" has been attacked, in the weeks before its release, by those who believe Stone has backed the wrong horse in the Kennedy assassination sweepstakes - by those who believe the hero of this film, former New Orleans district attorney Jim Garrison, was a loose cannon who attracted crackpot conspiracy theories the way a dog draws fleas. The important point to make about "JFK" is that Stone does not subscribe to all of Garrison's theories, and indeed rewrites history to supply his Garrison character with material he could not have possessed at the time of these events. He uses Garrison as the symbolic center of his film because Garrison, in all the United States in all the years since 1963, is the only man who has attempted to bring anyone into court in connection with the fishiest political murder of our time. Stone's film is hypnotically watchable. Leaving aside all of its drama and emotion, it is a masterpiece of film assembly. The writing, the editing, the music, the photography, are all used here in a film of enormous complexity, to weave a persuasive tapestry out of an overwhelming mountain of evidence and testimony. Film students will examine this film in wonder in the years to come, astonished at how much information it contains, how many characters, how many interlocking flashbacks, what skillful interweaving of documentary and fictional footage. The film hurtles for 188 minutes through a sea of information and conjecture, and never falters and never confuses us. That is not to say that we are quite sure, when it is over and we try to reconstruct the experience in our minds, exactly what Stone's conclusions are. "JFK" does not unmask the secrets of the Kennedy assassination. Instead, it uses the Garrison character as a seeker for truth who finds that the murder could not have happened according to the official version. Could not. Those faded and trembling images we are all so familiar with, the home movie Abraham Zapruder took of the shooting of Kennedy, have made it forever clear that the Oswald theory is impossible - and that at least one of the shots must have come from in front of Kennedy, not from the Texas Schoolbook Depository behind him. Look at me, italicizing the word "must." The film stirs up that kind of urgency and anger. The CIA and FBI reports on the Kennedy assassination are sealed until after most of us will be long dead, and for what reason? Why can't we read the information our government gathered for us on the death of our president? If Garrison's investigation was so pitiful - and indeed it was flawed, underfunded and sabotaged - then where are the better investigations by Stone's attackers? A U.S. Senate select committee found in 1979 that Kennedy's assassination was probably a conspiracy. Why, 12 years later, has the case not been reopened? Stone's film shows, through documentary footage and reconstruction, most of the key elements of those 1963 events. The shooting. The flight of Air Force One to Washington. Jack Ruby's murder of Oswald. And it shows Garrison, in New Orleans, watching the same TV reports we watched, and then stumbling, hesitantly at first, into a morass of evidence suggesting that various fringe groups in New Orleans, pro and anti-Castro, may have somehow been mixed up the with CIA and various self-appointed soldiers of fortune in a conspiracy to kill JFK. His investigation leads him to Clay Shaw, respected businessman, who is linked by various witnesses with Lee Harvey Oswald and other possible conspirators. Some of those witnesses die suspiciously. Eventually Garrison is able to bring Shaw to trial, and although he loses his case, there is the conviction that he was onto something. He feels Shaw perjured himself, and in 1979, five years after Shaw's death and 10 years after the trial, Richard Helms of the CIA admits that Shaw, despite his sworn denials, was indeed an employee of the CIA. Most people today, I imagine, think of Garrison as an irresponsible, publicity-seeking hothead who destroyed the reputation of an innocent man. Few know Shaw perjured himself. Stone certainly gives Garrison a greater measure of credibility than he has had for years, but the point is not whether Garrison's theories are right or wrong - what the film supports is simply his seeking for a greater truth. As Garrison, Kevin Costner gives a measured yet passionate performance. Like a man who has hold of an idea he cannot let go, he forges ahead, insisting that there is more to the assassination than meets the eye. Stone has surrounded him with an astonishing cast, able to give us the uncanny impression that we are seeing historical figures. There is Joe Pesci, squirming and hyperkenetic as David Ferrie, the alleged getaway pilot. Tommy Lee Jones as Clay Shaw, hiding behind an impenetrable wall of bemusement. Gary Oldman as Lee Harvey Oswald. Donald Sutherland as "X" (actually Fletcher Prouty), the high-placed Pentagon official who thinks he knows why JFK was killed. Sissy Spacek, in the somewhat thankless role of Garrison's wife, who fears for her family and marriage. And dozens of others, including Jack Lemmon, Ed Asner, Walter Matthau and Kevin Bacon in small, key roles, their faces vaguely familiar behind the facades of their characters. Stone and his editors, Joe Hutshing and Pietro Scalia, have somehow triumphed over the tumult of material here and made it work - made it grip and disturb us. The achievement of the film is not that it answers the mystery of the Kennedy assassination, because it does not, or even that it vindicates Garrison, who is seen here as a man often whistling in the dark. Its achievement is that it tries to marshal the anger which ever since 1963 has been gnawing away on some dark shelf of the national psyche. John F. Kennedy was murdered. Lee Harvey Oswald could not have acted alone. Who acted with him? Who knew?

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