SAYLES DIRECTORS, 4 EDItION situations. Again. while one senses a touch of Sautet's 1991 City of Hope(+ed, song, role as Carl) with the bourgeois world he represents, these films do ne 1992 Passion Fish(+ed) offer the conservative resolutions that characte 1994 The Secret of roan Inish(+ ed) bourgeois Hollywood productions of the 1980s and 1990s. As we 1995 Lone Star(+ pr)+ ed) watch Un Coeur and Nelly, we proceed along the interior, emotional 1997 Men with Guns(Hombres armadas)(+ed) topographies of characters like the remote and ostensibly affectless 999 Limbo (+ed) Stephan in Un Coeur. The tension which builds throughout Un Coeur as a result of Stephan,'s unwillingness and/or incapacity to love does not find its release, however, through the union of Stephan and Other films Camille by the films end: Camille continues her relationship with Maxim, Stephan remains alone. As a result, Sautet powerfully suc- 1978 Piranha(Dante)(sc) ceeds in having us experience the frustration these characters feel, 1979 The Lady in Red(Kiss Me and Die: Guns. Sin, and Bathtub because Un Coeur resists consummating a formulaic relationship Gin)(Teague)(sc) with its audience via a happy ending as Hollywood films are likely to do. 1980 Battle beyond the Stars(Murakami)(sc); The Howling (Dante) Nelly Monsieur Arnaud affects its audience in similar ways. omparable to Un Coeur, Nelly's presentation of the emotional 1982 The Challenge(Frankenheimer)(co-sc) irings and mis-firings between Nelly, Arnaud, Vincent, and Jerome 1984 Hard Choices(King)(role as Don) draw the viewer into a narrative that resists uncomplicated closure; 1985 The Clan of the Cave Bear(Chapman)(sc); Enormous Changes because of this, the world of Nelly Monsieur Arnaud is more likely at the Last Minute(Bank, Hovde)(sc) to resemble the reality its audience will encounter once the credits role 1987 Wild Thing(Reid)(sc); Something Wild(Demme)(role as and the lights go up. Derek Elley aptly comments in Variety that Sautet, in his films,"is more interested in the what-could-have- 1989 Breaking In( Forsyth)(sc) happened than the what-actually-has. Nelly, he concludes, will 1992 Straight Talk(Kellman)(role as Guy Girardi): Malcolm X delight those who don t like their t's crossed and rs dotted. while Lee)(role as FBI man); Matinee(Dante)(role as phoney neither a revolutionary cinema nor one which simply gives way to Hollywood narrative conventions, Claude Sautet's films endure as 1993 A Safe Place (Lang)(sc): My Life's in Turnaround(Schaeffer poignant and insightful tales depicting the often beguiling world of Ward ) (role as film producer) human affairs 1994 Men of War(sc); Bedlam(Maclean)(se 1995 Apollo 13(Howard)( -Roy Armes, updated by Kevin J C 1997 Gridlock 'd (role) SAYLES John Publications By SaYleS: books- Nationality: American Born: John Thomas Sayles in Schenectady New York, 28 September 1950. Education: Williams College The Pride of the Bimbos, New York, 1975. williamstown, Massachusetts, B.S. in psychology, 1972. Career Union Dues. New York. 1977. First novel published, 1975; writer for Roger Corman's New World The Anarchists Convention. New York. 1979 Pictures, from 1977; first film as director, The Return of the Secaucus Thinking in Pictures: The Making of the Movie""Matewan, " New Seven, 1980; directed own plays New Hope for the Dead and York. 1987. Turnbuckle, Off-Off-Broadway, 1981; writer and director for T Los gusanos. New York. 1991 rom 1980; director of videos for Bruce Springsteen, including"Born Savles on saves, with Gavin Smith. New in the U.S.A. and"I'm on Fire. " Agent: Robinson, Weintraub, Men with Guns and Lone Star, New York, Gross and Associates, Inc, 8428 Melrose Place, Suite C, Los John Sayles: Interviews(Conversations with Filmmakers Series), Angeles CA 90069. U.S.A Diane Carson, editor, Jackson, 1999 Films as Director and Scriptwriter Ways of Looking at the world, an interview with Hunter Corday, 980 The Return of the Secaucus Seven(+ed, role as Howie) in Metro(Melbourne), Summer 1978/79. 1981 Lianna (+ed, role as Jer Interview with t. Crawley Monthly Film Bulletin (London) 1983 Baby. It's You 984 The Brother from Another Planet(+ed, role as bounty hunter) Interview with D Popkin, in Cineaste(New York), vol 13, no 1, 1983 1987 Matewan(+ role as preacher) Interview with Paul Kerr, in Monthly Film Bulletin(London). Janu- 988 Eight Men Out(+ role as Ring Lardner)SAYLES DIRECTORS, 4th EDITION 868 situations. Again, while one senses a touch of Sautet’s complicity with the bourgeois world he represents, these films do not simply offer the conservative resolutions that characterize so many of the bourgeois Hollywood productions of the 1980s and 1990s. As we watch Un Coeur and Nelly, we proceed along the interior, emotional topographies of characters like the remote and ostensibly affectless Stephan in Un Coeur. The tension which builds throughout Un Coeur as a result of Stephan’s unwillingness and/or incapacity to love does not find its release, however, through the union of Stephan and Camille by the film’s end: Camille continues her relationship with Maxim, Stephan remains alone. As a result, Sautet powerfully suc￾ceeds in having us experience the frustration these characters feel, because Un Coeur resists consummating a formulaic relationship with its audience via a happy ending as Hollywood films are likely to do. Nelly & Monsieur Arnaud affects its audience in similar ways. Comparable to Un Coeur, Nelly’s presentation of the emotional firings and mis-firings between Nelly, Arnaud, Vincent, and Jerome draw the viewer into a narrative that resists uncomplicated closure; because of this, the world of Nelly & Monsieur Arnaud is more likely to resemble the reality its audience will encounter once the credits role and the lights go up. Derek Elley aptly comments in Variety that Sautet, in his films, ‘‘is more interested in the what-could-have￾happened than the what-actually-has.’’ Nelly, he concludes, ‘‘will delight those who don’t like their T’s crossed and I’s dotted.’’ While neither a revolutionary cinema nor one which simply gives way to Hollywood narrative conventions, Claude Sautet’s films endure as poignant and insightful tales depicting the often beguiling world of human affairs. —Roy Armes, updated by Kevin J. Costa SAYLES, John Nationality: American. Born: John Thomas Sayles in Schenectady, New York, 28 September 1950. Education: Williams College, Williamstown, Massachusetts, B.S. in psychology, 1972. Career: First novel published, 1975; writer for Roger Corman’s New World Pictures, from 1977; first film as director, The Return of the Secaucus Seven, 1980; directed own plays New Hope for the Dead and Turnbuckle, Off-Off-Broadway, 1981; writer and director for TV, from 1980; director of videos for Bruce Springsteen, including ‘‘Born in the U.S.A.’’ and ‘‘I’m on Fire.’’ Agent: Robinson, Weintraub, Gross and Associates, Inc., 8428 Melrose Place, Suite C., Los Angeles, CA 90069, U.S.A. Films as Director and Scriptwriter: 1980 The Return of the Secaucus Seven (+ ed, role as Howie) 1981 Lianna (+ ed, role as Jerry) 1983 Baby, It’s You 1984 The Brother from Another Planet (+ ed, role as bounty hunter) 1987 Matewan (+ role as preacher) 1988 Eight Men Out (+ role as Ring Lardner) 1991 City of Hope (+ ed, song, role as Carl) 1992 Passion Fish (+ ed) 1994 The Secret of Roan Inish (+ ed) 1995 Lone Star (+ pr) (+ ed) 1997 Men with Guns (Hombres armadas) (+ ed) 1999 Limbo (+ ed) Other Films: 1978 Piranha (Dante) (sc) 1979 The Lady in Red (Kiss Me and Die; Guns, Sin, and Bathtub Gin) (Teague) (sc) 1980 Battle beyond the Stars (Murakami) (sc); The Howling (Dante) (co-sc); Alligator (Teague) (sc) 1982 The Challenge (Frankenheimer) (co-sc) 1984 Hard Choices (King) (role as Don) 1985 The Clan of the Cave Bear (Chapman) (sc); Enormous Changes at the Last Minute (Bank, Hovde) (sc) 1987 Wild Thing (Reid) (sc); Something Wild (Demme) (role as motorcycle cop) 1989 Breaking In (Forsyth) (sc) 1992 Straight Talk (Kellman) (role as Guy Girardi); Malcolm X (Lee) (role as FBI man); Matinee (Dante) (role as phoney moral crusader) 1993 A Safe Place (Lang) (sc); My Life’s in Turnaround (Schaeffer, Ward) (role as film producer) 1994 Men of War (sc); Bedlam (Maclean) (sc) 1995 Apollo 13 (Howard) (sc) 1997 Gridlock’d (role) Publications By SAYLES: books— The Pride of the Bimbos, New York, 1975. Union Dues, New York, 1977. The Anarchists’ Convention, New York, 1979. Thinking in Pictures: The Making of the Movie ‘‘Matewan,’’ New York, 1987. Los Gusanos, New York, 1991. Sayles on Sayles, with Gavin Smith, New York, 1998. Men with Guns and Lone Star, New York, 1998. John Sayles: Interviews (Conversations with Filmmakers Series), Diane Carson, editor, Jackson, 1999. By SAYLES: articles— ‘‘Ways of Looking at the World,’’ an interview with Hunter Cordaiy, in Metro (Melbourne), Summer 1978/79. Interview with T. Crawley, in Monthly Film Bulletin (London), December 1982. Interview with D. Popkin, in Cineaste (New York), vol. 13, no. 1, 1983. Interview with Paul Kerr, in Monthly Film Bulletin (London), Janu￾ary 1984