Attempting to get a film made through the studio system in ‘60s America was — at best — a fool’s errand. Major studios knew exactly what sold, and weren’t willing to take many risks. Even if you thought you had the next Citizen Kane, you had to deal with the logistical nightmare of winning over corporate executives, securing investors, and ultimately signing away your soul in exchange for a distribution deal. For those who wanted to play the game, these were the rules.

But John Cassavetes – a self described “gangster” of cinema, commonly referred to as “Billy the Kid” by his coworkers – didn’t give a f**k about the rules. He saw the entertainment industry for the corporate cash-grab that it was, and refused to concede to its machine-like nature. Beginning with 1968’s Faces, Cassavetes began writing, directing, and self-financing each of his own films, personally overseeing every aspect of production, from the cinematography down to the lyrical content of each score. He famously mortgaged his house to finance 1974’s A Woman Under The Influence, rather than accept money from an investor who wanted to make a few minor changes to the film’s script. Creative control was simply non-negotiable.

Case in point: I sorta like to think that John Cassavetes invented the “punk rock” ethos without even picking up a guitar.

““Faces became more than a film. It became a way of life, a film against the authorities and the powers that prevent people from expressing themselves the way they want to, something that can’t be done in America, that can’t be done without money.””

— John Cassavetes

This week, we’re diving into Cassavetes’ “Big 5” (Faces, Shadows, A Woman Under The Influence, Opening Night, and Love Streams), and we strongly recommend you do the same. Aside from garnering widespread critical acclaim upon each of their respective releases, these cult-favorites are largely responsible for showing American audiences what could be accomplished with a shoestring budget and ambition alone. Pick your poison; each film is a masterpiece in its own right. —Jackson Todd

Side Note: Cassavetes was also one of the first to call bullshit on method acting. We’re right there with you, John.