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Line 80: ==Filmmaking style== ~~According to Marshall Fine,~~ Cassavetes spent the majority of his directing career working 'off the grid' and in a communal atmosphere "unfettered by the commercial concerns of Hollywood."{{sfn\|Fine\|page=99}} This was in part because few Hollywood executives were interested in Cassavetes' raw studies of human behavior. His films aim to capture "small feelings" often repressed by Hollywood filmmaking, emphasizing intimate character examination and relationships rather than plot, backstory, or stylization.<ref name="auto"/> He often presented difficult characters whose behaviors were not easily understood, rejecting simplistic psychological or narrative explanations for their actions.<ref name="Ray Carney pp. 283">Carney, Ray,''Cassavetes on Cassavetes'', London: Faber and Faber, 2001: pp. 283.</ref> Cassavetes also disregarded the "impressionistic cinematography, linear editing, and star-centred scene making" fashionable in Hollywood and art films.<ref>Bendedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in English", ''Post Script'' V. 11 n. 2. (Winter 1992): 101.</ref> Instead, he worked to create a comfortable and informal environment where actors could freely experiment with their performances and go beyond acting clichés or "programmed behaviors."<ref name="Ray Carney pp. 283"/> Cassavetes also rejected the dominance of the director's singular vision, instead believing each character must be the actor's "individual creation" and refusing to explain the characters to his actors in any significant detail.<ref name="Ray Carney pp. 65">Carney, Ray, ''Cassavetes on Cassavetes'', London: Faber and Faber, 2001: pp. 65.</ref> He claimed that "stylistic unity drains the humanity out of a text [...] The stories of many different and potentially inarticulate people are more interesting than a contrived narrative that exists only in one articulate man's imagination."<ref name="Ray Carney pp. 65"/> Cassavetes also said that he strove "to put [actors] in a position where they may make asses of themselves without feeling they're revealing things that will eventually be used against them."<ref>Gelmis, Joseph. "John Cassavetes", in ''The Film Director as Superstar''. London: Seckler & Warburg, 1971, p. 80.</ref> He frequently filmed scenes in long, uninterrupted takes, explaining that:<blockquote>The drama of the scenes comes naturally from the real passage of time lived by the actors [...] The camera isn't content to just follow the characters' words and actions. I focus in on specific gestures and mannerisms. It's from focusing on these little things—the moods, silences, pauses, or anxious moments—that the form arises.<ref>Carney, Ray, ''Cassavetes on Cassavetes'', London: Faber and Faber, 2001: pp. 288.</ref></blockquote>

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