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Pictures

Overview

For more than twenty years, on dozens of film sets, Bridges has perfected his own photography, shooting between takes and behind-the-scenes with a Widelux F8 camera. This fascinating, surprisingly candid body of work began as a personal project, as he recorded the arduous, emotionally intense, evanescent work of the film shoot in books that were privately printed and given as gifts to cast and crew. These are not traditional “Hollywood” pictures, but rather—despite the costumes and lighting, the crowds of extras,...
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Overview

For more than twenty years, on dozens of film sets, Bridges has perfected his own photography, shooting between takes and behind-the-scenes with a Widelux F8 camera. This fascinating, surprisingly candid body of work began as a personal project, as he recorded the arduous, emotionally intense, evanescent work of the film shoot in books that were privately printed and given as gifts to cast and crew. These are not traditional “Hollywood” pictures, but rather—despite the costumes and lighting, the crowds of extras, the stardom of the subjects—pictures of friends at work. Taken together, the pictures act as Bridges’ personal and professional diary, with actors, directors, and crew appearing as coworkers, all equal participants in the job at hand.

With a foreword by Peter Bogdanovich and Jeff Bridges’ hand-written commentary and captions throughout, Pictures promises to be a rare and exciting publishing event, offering a vision of Hollywood that is both intimately human and formally beautiful.

Jeff Bridges’ proceeds from Pictures will be donated to the Motion Picture & Television Fund, a non-profit organization that offers charitable care and support to film-industry workers.

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Editorial Reviews

The New York Times
The black-and-white, panoramic-format pictures that Bridges has taken on film sets and on location have a documentary intensity and sense of visual moment that are as striking as they are unusual. Perhaps the trick is that he exploits the distance between the high gloss of Hollywood productions and the deglamorized, behind-the-scenes format of his pictures, which take roughly the same proportion as CinemaScope. Even Michelle Pfeiffer looks to be an ordinary working stiff, although a gorgeous one. What seems sure is that Bridges knows that photography, like filmmaking, is an art about the illusion of not being an illusion. — Andy Grundberg
Publishers Weekly
Fans of the offbeat star of The Last Picture Show, Starman, The Big Lebowski and The Contender (as well as, more recently, Seabiscuit) get a closer look at his take with this collection of 119 of Bridges's set photographs. Sometimes blurry, and appealingly casual, these duotone shots fit nicely with Bridges's own persona as a quietly humorous, understated and unpretentious actor. Of his camera, a Widelux F8, Bridges says, "its viewfinder isn't accurate, and there's no manual focus, so it has an arbitrariness to it, a capricious quality." The panoramic shots (here about 12" x 10") of cluttered sets, exhausted actors and crew members intent on various tasks are a refreshing "inside" view of a world that director Peter Bogdanovich, in his introduction to the book, calls "haphazard, messy, familial, jumbled, frenetic, surreal, fragmented." Bridges's accompanying notes are concise and often hilarious: on the set of The Big Lebowski, Bridges recounts how, while sliding between the legs of the "Bowling-Pin Chorines" on a "little skateboard," he sees a lot more than he expected, thanks to a "hairy" prank pulled by the mischievous dancers. One recurring motif is the Comoedia/Tragoedia masks that Bridges asks fellow actors to make, bringing them back to the ancient roots of their profession: Martin Landau's expressive rendition, with ghostly drawings of old cars in the background, is especially haunting. Bridges doesn't forget his family, either: photographs of brother Beau and father Lloyd are particularly affectionate. While none of the photographs are scandalous, la Hollywood Babylon, and won't ruin anyone's reputation (although some will love the unguarded, unmade-up shots of Michelle Pfeiffer, as well as the shot of Bridges himself lying pensively on his stomach in his Tron costume), this is still a fun and down-to-earth peek inside a world often only seen through the overpolished lens of Hollywood. (Dec.) Copyright 2003 Reed Business Information.
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Product Details

  • ISBN-13: 9781576871775
  • Publisher: powerHouse Books
  • Publication date: 10/28/2003
  • Pages: 192
  • Product dimensions: 12.35 (w) x 10.45 (h) x 0.85 (d)

Meet the Author

Jeff Bridges
“Jeff Bridges has constructed a rich, compelling, and highly personal chronicle of behind-the-scenes Hollywood.... This is a unique and important contribution to the photographic literature.”
—Richard Misrach

This extraordinary book of images represents a lifetime of photographic practice by one of Hollywood’s most compelling actors. A four-time Academy Award nominee, Jeff Bridges has starred in many of the most beloved films of our time, including The Last Picture Show, The Fabulous Baker Boys, Starman, The Fisher King, Fearless, American Heart, The Big Lebowski, The Contender, and Seabiscuit, this summer’s upcoming blockbuster feature from Universal Pictures. Bridges has collaborated with some of the most respected directors in Hollywood, among them Peter Bogdanovich, the Coen Brothers, Terry Gilliam, Francis Ford Coppola, Ridley Scott, and Peter Weir, and has costarred with many of the silver screen’s most compelling actors: Kevin Spacey, Julianne Moore, Philip Seymour Hoffman, Tobey Maguire, Tommy Lee Jones, Robin Williams, Nick Nolte, John Turturro, Gary Oldman, Tim Robbins, Michelle Pfeiffer, Lauren Bacall, Joan Allen, Amanda Plummer, Isabella Rossellini, Ellen Barkin, Barbra Streisand, Jessica Lange, Penelope Cruz, and Jane Fonda, to name but a few.

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