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More American Graffiti AI simulator
(@More American Graffiti_simulator)
Hub AI
More American Graffiti AI simulator
(@More American Graffiti_simulator)
More American Graffiti
More American Graffiti is a 1979 American coming-of-age comedy film written and directed by Bill L. Norton, produced by Howard Kazanjian. The film, shot in multiple aspect ratios for comedic and dramatic emphasis, is the sequel to the 1973 film American Graffiti. While the first film followed a group of friends during the evening before they depart for college, the sequel depicts where they end up on consecutive New Years Eves from 1964 to 1967.
Most of the main cast members from the first film returned for the sequel, including Candy Clark, Ron Howard, Paul Le Mat, Cindy Williams, Mackenzie Phillips, Charles Martin Smith, Bo Hopkins and Harrison Ford. (Richard Dreyfuss was the only principal cast member from the original film not to appear in the sequel). It was the final live-action theatrical film in which Ron Howard would play a credited, named character.
The film, set over the course of four consecutive New Year's Eves from 1964 to 1967, depicts scenes from each of these years, intertwined with one another as though events happen simultaneously. The audience is protected from confusion by the use of a distinct cinematic style for each section. For example, the 1966 sequences echo the film Woodstock using split screens and multiple angles of the same event simultaneously on screen, the 1965 sequences (set in Vietnam) shot hand-held on grainy super 16 mm film designed to resemble war reporters' footage. The film attempts to memorialize the 1960s with sequences that recreate the sense and style from those days, with references to Haight-Ashbury, the campus peace movement, the beginnings of the modern women's liberation movement and the accompanying social revolt. One character burns his draft card, showing a younger audience what so many Americans had done on the television news ten years before the film's release. Other characters are shown frantically disposing of their marijuana before a traffic stop as a police officer pulls them over, and another scene shows the police overreaction to an anti-Vietnam War protest.
The storylines and fates of the main characters include the following:
The final scenes show Steve, Laurie, Andy, and Vicki in front of the appliance store watching the TV, Debbie, Newt and the Electric Haze in the band's van, and Terry walking alone wearing civvies, now AWOL after faking his death. All of them are singing "Auld Lang Syne". Milner is in his deuce coupe at night on a hilly road while listening to the song play on the radio, driving toward his fatal encounter.
After the success of the original film, George Lucas, who directed American Graffiti, felt that he should direct a sequel. However, his colleague Gary Kurtz and the film's producer Francis Ford Coppola declined to make a sequel since sequels were not as well received. Lucas shelved the sequel to work on Star Wars and Raiders of the Lost Ark. After the success of Star Wars, Universal City Studios president Sid Sheinberg felt that American Graffiti could have a sequel. Lucas was initially reluctant to do a sequel, but after discussions with producer Howard Kazanjian, he agreed to do so.
Lucas felt that he should not direct the film due to various circumstances, such as handling his company's financing, developing Radioland Murders with Willard Huyck and Gloria Katz, whom he had worked with on the film, and writing the screenplay of The Empire Strikes Back and planning his Indiana Jones franchise with fellow director Steven Spielberg. Finding a director was problematic for Lucas and Kazanjian. Kazanjian's top choice was John Landis, who declined to work on it. Lucas’ professor Irvin Kershner was also considered, but rejected the offer due to his lack of experience in comedy.
Lucas considered Robert Zemeckis, who had finished directing his first feature film I Wanna Hold Your Hand, but he turned down the offer. Bill L. Norton was picked by Lucas as being suitable due to his California upbringing and experience with comedy. Lucas and Kazanjian asked him to do a screenplay, which Norton quickly accepted. Lucas was involved in the production by acting as the executive producer, editing both Norton's screenplay and supervising the finished motion picture, and even setting up a camera for sequences set in the Vietnam War.
More American Graffiti
More American Graffiti is a 1979 American coming-of-age comedy film written and directed by Bill L. Norton, produced by Howard Kazanjian. The film, shot in multiple aspect ratios for comedic and dramatic emphasis, is the sequel to the 1973 film American Graffiti. While the first film followed a group of friends during the evening before they depart for college, the sequel depicts where they end up on consecutive New Years Eves from 1964 to 1967.
Most of the main cast members from the first film returned for the sequel, including Candy Clark, Ron Howard, Paul Le Mat, Cindy Williams, Mackenzie Phillips, Charles Martin Smith, Bo Hopkins and Harrison Ford. (Richard Dreyfuss was the only principal cast member from the original film not to appear in the sequel). It was the final live-action theatrical film in which Ron Howard would play a credited, named character.
The film, set over the course of four consecutive New Year's Eves from 1964 to 1967, depicts scenes from each of these years, intertwined with one another as though events happen simultaneously. The audience is protected from confusion by the use of a distinct cinematic style for each section. For example, the 1966 sequences echo the film Woodstock using split screens and multiple angles of the same event simultaneously on screen, the 1965 sequences (set in Vietnam) shot hand-held on grainy super 16 mm film designed to resemble war reporters' footage. The film attempts to memorialize the 1960s with sequences that recreate the sense and style from those days, with references to Haight-Ashbury, the campus peace movement, the beginnings of the modern women's liberation movement and the accompanying social revolt. One character burns his draft card, showing a younger audience what so many Americans had done on the television news ten years before the film's release. Other characters are shown frantically disposing of their marijuana before a traffic stop as a police officer pulls them over, and another scene shows the police overreaction to an anti-Vietnam War protest.
The storylines and fates of the main characters include the following:
The final scenes show Steve, Laurie, Andy, and Vicki in front of the appliance store watching the TV, Debbie, Newt and the Electric Haze in the band's van, and Terry walking alone wearing civvies, now AWOL after faking his death. All of them are singing "Auld Lang Syne". Milner is in his deuce coupe at night on a hilly road while listening to the song play on the radio, driving toward his fatal encounter.
After the success of the original film, George Lucas, who directed American Graffiti, felt that he should direct a sequel. However, his colleague Gary Kurtz and the film's producer Francis Ford Coppola declined to make a sequel since sequels were not as well received. Lucas shelved the sequel to work on Star Wars and Raiders of the Lost Ark. After the success of Star Wars, Universal City Studios president Sid Sheinberg felt that American Graffiti could have a sequel. Lucas was initially reluctant to do a sequel, but after discussions with producer Howard Kazanjian, he agreed to do so.
Lucas felt that he should not direct the film due to various circumstances, such as handling his company's financing, developing Radioland Murders with Willard Huyck and Gloria Katz, whom he had worked with on the film, and writing the screenplay of The Empire Strikes Back and planning his Indiana Jones franchise with fellow director Steven Spielberg. Finding a director was problematic for Lucas and Kazanjian. Kazanjian's top choice was John Landis, who declined to work on it. Lucas’ professor Irvin Kershner was also considered, but rejected the offer due to his lack of experience in comedy.
Lucas considered Robert Zemeckis, who had finished directing his first feature film I Wanna Hold Your Hand, but he turned down the offer. Bill L. Norton was picked by Lucas as being suitable due to his California upbringing and experience with comedy. Lucas and Kazanjian asked him to do a screenplay, which Norton quickly accepted. Lucas was involved in the production by acting as the executive producer, editing both Norton's screenplay and supervising the finished motion picture, and even setting up a camera for sequences set in the Vietnam War.