FROM COBAIN TO GOODALL: BRETT MORGEN FINDS THE LIGHT WITH JANE

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“I’m seeing a shot of Jane sort of being composed looking out somewhere. And then at end of the shot, before it flares out, I see her look over to the camera and start smiling. I instantly recognize what’s happening, in that she’s breaking down that fourth wall and we’re going to be able to tell this love story in a rather unique manner.” – WBUR’s The ARTery, 11/03/2017

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CALL HIM LUCKY: JOHN CARROLL LYNCH ON DIRECTING HARRY DEAN STANTON’S SWAN SONG

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“Harry made it look so easy for sixty years. His work doesn’t seem like anything’s happening. He walks onscreen fully in life, three-dimensional with his own key light and his own shadow. He lived that way, and he played that way. That is an estimable thing. That is something to be inspired by and aspire to. I’m so happy we got this movie made.” – WBUR’s The ARTery, 10/06/2017

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CHARLES TAYLOR, ALFREDO GARCIA AND THE SHADOW CINEMA OF THE AMERICAN ’70S

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“The tragedy of the film is that it’s about a fellow who is put in situations with other men where violence and force is the common coin. It’s the tool that he has to deal with the situations in which he finds himself, and it’s also the thing that separates him from everything in life he wants, including finally the love of a woman. It’s made by someone who knows this.” – WBUR’s The ARTery, 07/26/2017

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SPECIFIC ABOUT BEING NON-SPECIFIC: BEN WHEATLEY AT THE BRATTLE

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“Scripts are sort of slippery documents. You write this stuff and it’s real easy to write and it’s really, really hard to do. The next step would be storyboarding, but again storyboarding can be full of bullshit as well. It lulls you into a false sense of security that it’s actually doable. So then we built models and stuff and started to plan it out, and I eventually used Minecraft.” – Boston Reel, 04/22/2017

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IT’S KIND OF A STURBRIDGE VILLAGE THING: ACCOMPANIST JEFF RAPSIS

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“Remember, these films were made when the only place to see them was in a theater, usually with a lot of other people. To really understand why people first fell in love with the movies, you need to put Humpty Dumpty back together again and recreate the whole experience: the big screen, the live music, and, most importantly, the shared experience of the audience.” – Metro, 03/31/2017

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RESERVOIR DOGS TURNS 25: QUENTIN TARANTINO AT SUNDANCE

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“I can’t believe I made a movie that short,” cackled Quentin Tarantino following the 25th Anniversary Screening of Reservoir Dogs at the 2017 Sundance Film Festival. Returning to Park City a quarter-century after the premiere that launched his career, Tarantino was joined by co-star Michael Madsen and producer Lawrence Bender for a predictably boisterous Q&A. Some edited highlights:

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ALWAYS EVERYTHING AT ONCE: KENNETH LONERGAN AT THE COOLIDGE

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“The director doesn’t make the movie, the first assistant director makes the movie. The director says, ‘I’d like that to be blue’ and someone else does the work of making sure that it’s blue. And often they come to you and say, ‘It can’t be blue. How about red?’ And you say okay. Multiply that by about ten thousand and you’ve got how a movie gets made.” – Boston Reel, 11/19/2016

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