Raging Bull

The Sound and the Fury

Julian Schnabel

Long captivated by Raging Bull, Julian Schnabel considers how Martin Scorsese
was able to make something so savage so beautiful.

Screening Room

Directors select and watch a film that influenced their career and analyze why it had such a profound effect on them.

Shawn Levy
Summer 2014
Shawn Levy

Shawn Levy admires the storytelling skill and deep emotion of Steven Zaillian's Searching for Bobby Fischer, a film that's had a lasting influence on his work.

Spring 2014
Marc Forster

Marc Forster revisits Alan J. Pakula’s ’70s-era conspiracy film, The Parallax View, and finds it as creepy today as when it was made. He explains how the director created a most disquieting mood.

Winter 2014
Paul Feig

Woody Allen’s second film, Take the Money and Run, delighted a young Paul Feig. Even today it defines his sense of what you can get away with in comedy.

Summer 2013
Noah Baumbach

François Truffaut’s New Wave classic Jules and Jim has lost none of its freshness and sense of innovation for Noah Baumbach. In fact, he borrowed some of its techniques for his latest film.

Spring 2013
M. Night Shyamalan

M. Night Shyamalan was captivated by Peter Bogdanovich’s The Last Picture Show and how the plot is secondary to tone and texture. He’s even tried to do it with his own films.

Fall 2012
Jay Roach

Jay Roach looks at how Elia Kazan’s A Face in the Crowd foreshadowed today’s political culture—and influenced his own films.

Winter 2013
Milos Forman

In Vittorio De Sica’s charming Miracle in Milan, the poor literally rise above it all. Milos Forman explains why the film touched him so deeply in his youth.

DGA Quarterly Summer 2012 Citizen Kane
Summer 2012
William Friedkin

William Friedkin first saw Citizen Kane more than 50 years ago and has never looked at films the same way again. He explains how Orson Welles used the tools of the trade to create a masterpiece.

Barry Lyndon
Spring 2012
Bennett Miller

In Stanley Kubrick’s Barry Lyndon, the story is not the main attraction. Bennett Miller explains how it’s the filmmaker’s restrained style that casts a sublime spell.

DGA Quarterly Spring 2011 Screening Room Dr. Strangelove
Spring 2011
Lawrence Kasdan

Lawrence Kasdan considers how Stanley Kubrick pulled off a daring mixture of tones in Dr. Strangelove.

DGA Quarterly Winter 2010-11 Screening Room
Winter 2011
Jonathan Dayton & Valerie Faris

Little Miss Sunshine's Jonathan Dayton and Valerie Faris explain why George Cukor's Holiday is the model of the romantic comedy for them.

Raging Bull
Winter 2012
Julian Schnabel

Long captivated by Raging Bull, Julian Schnabel considers how Martin Scorsese
was able to make something so savage so beautiful.

Fall 2010
Alejandro González Iñárritu

Alejandro González Iñárritu analyzes Kurosawa’s Ikiru and explains how it influenced his latest film, Biutiful.

Summer 2010
Zack Snyder

John Boorman presented a vision of heroism and bloodletting in Excalibur that captivated a young Zack Snyder. The director of 300 and Watchmen explains how it influenced his own mythical moviemaking.

Spring 2010
Spike Jonze

Carroll Ballard's The Black Stallion is a legendary piece of visual filmmaking. Spike Jonze studied it for Where the Wild Things Are, and explains how Ballard effortlessly tells a rousing story with few words.

DGAQ Screening Room - Antoine Fuqua  on Martin Scorsese's Mean Streets
Winter 2010
Antoine Fuqua

Antoine Fuqua watches Martin Scorsese's Mean Streets and talks about his personal connection to the film.

Fall 2009
Rob Zombie

Stanley Kubrick's A Clockwork Orange entranced rocker-turned-director Rob Zombie when he was a kid. Taking another look, he stil sees a film that's like no other.

Summer 2009
John Waters

John Waters rhapsodizes about The Girl Can't Help It, and is not shy (surprise) talking about what he "stole" from it.

Spring 2009
Barry Sonnenfeld

Robert Altman's The Long Goodbye changed the way Barry Sonnenfeld looks at movies. Watching it again, he marvels at the diretor's stylized take on the Raymond Chandler novel.

Winter 2009
David O. Russell

Since high school, David O. Russell has been a big fan of Mel Brooks' Young Frankenstein. Now he takes a closer look at how all the pieces fit together.

Fall 2008
Ed Zwick

Everyone loves Annie Hall, but according to Ed Zwick it's more than just a charming movie. He explains how it revolutionized romantic comedies.

DGA Quarterly Magazine Summer 2008 Screening Room
Summer 2008
James L. Brooks

William Wyler's The Best Years of Our Lives is a film that has remained lodged in James L. Brooks' head and heart for all these years. He explains its inexorable appeal.

DGA Quarterly Spring 2008 Screening Room
Spring 2008
James Mangold

James Mangold leads us through the mean streets of Times Square in Sweet Smell of Success, directed by his mentor and teacher, Alexander Mackendrick.

DGA Quarterly Winter 2007-08 Screening Room
Winter 2007/2008
John Sayles

Indie icon John Sayles strays from the socially conscious contemporary cinema he's known for and guides us through the moors of 11th-century Scotland in Roman Polanski's The Tragedy of Macbeth.

DGA Quarterly Fall 2007 In the Screening Room
Fall 2007
Paul Thomas Anderson

The Treasure of the Sierra Madre is the kind of straight-ahead film Paul Thomas Anderson would love to make. He explains what makes it great.

DGA Quarterly Summer 2007
Summer 2007
Nancy Meyers

Billy Wilder's The Apartment is a film that inspired Nancy Meyers. The director chats about what makes it so special for her.

DGA Quarterly Spring 2007 Screening Room Notorious
Spring 2007
Stephen Frears

Stephen Frears takes a close look at Hitchcock's use of close-ups in Notorious. Repression never looked so good.

DGA Quarterly Magazine Fall 2006 Screening Room
Fall 2006
Darren Aronofsky

As an aspiring director, Darren Aronofsky watched Kurosawa's Yojimbo so much he wore out the tape. He watches it again and explains what he learned.

DGA Quarterly Magazine Summer 2006 Screening Room
Summer 2006
Terry Zwigoff

For Terry Zwigoff, Fritz Lang's mordant 1945 film noir Scarlet Street is a lot of laughs. He explains why.

DGA Quarterly Spring 2006 Screening Room Jaws
Spring 2006
John Singleton

John Singelton watches Spielberg's classic E-ride and analyzes what makes it so scary-and profound.

DGA Quarterly Magazine Fall 2005 Screening Room Arteta
Fall 2005
Miguel Arteta

Director Miguel Arteta takes a look-a close look-at Martin Scorsese's The King of Comedy to find out what makes it tick.