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By John Manderino

Whilst Hitchcock's "The Birds", begun displaying in the summertime of 1963 on the Dolton Theater, the starlings of Riverside, Illinois introduced their assaults. They have been 'black, freckled, oily-looking things' with 'tiny black buttons for eyes.' They carried off Skippy Whalen's baseball cap, pooped on Father Rowley's finger, and attacked a feisty little puppy named Tuffy who fought them off. 'I blamed Alfred Hitchcock' says the writer, a Catholic grammar college pupil on the time.In this comedian, witty memoir, John Manderino indicates us how the pivotal issues of his lifestyles were enmeshed with motion picture moments. "Crying at Movies" provides thirty-eight succinct chapters, each one bearing the identify of a film."Brief Encounter", the final bankruptcy, reveals our movie-seeking Everyman hiding in his girlfriend's rest room so she won't see him crying over the ultimate scene. "Crying at Movies" is right away a love-letter to an artwork shape and a funny appreciation of the differences among motion picture scenes and life's realities.

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J knew as I stood there that I would return one day to make a film. Had I never seen the windmills, I would not have made the connection between this fantastic landscape and the von Arnim story, which I read only later on. In Signs of Life there are long shots of the incredible landscapes of Crete. The opening credits, for example, hold for an unusually long time with a single shot of a mountain valley. It gives you time to really climb deep inside the landscapes, and for them to climb inside you.

Z, for the complete Oberhausen Manifesto, and Chapter One of Thomas Elsaesser's New German Cinema (Rutgers University Press, 1989) for a summary of the manifesto's impact on film in West Germany. 17 The Kuratorium was 'explicitly charged with putting the proposals of the Oberhausen Manifesto into practice' (Elsaesser, 1989, p. z z ) by advancing 'German film-making and stimulate a renewal of the German film in a manner exclusively and directly beneficial to the community'. It was non-profit-making and was funded by the Ministry of the Interior.

So I ended up penniless and was pushed around from place to place for weeks until finally I was picked up on a country road by the Franklin family. The mother had six children between seventeen and twenty-seven, her husband had died and there was a ninety-three-year-old grandmother. I owe them so much, this wonderful, crazy family who put me up in an attic where I lived for six months. Of course I needed to earn some money, so I started to work on a project that was part of a series of films for NASA.

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