DGA Quarterly Magazine Winter 2010-11 King Vidor

The Man Who Would Be King

King Vidor

King Vidor helped bring directors together to form the Guild and became its first president during the early, perilous years. His legacy as a great filmmaker and fighter for directors' rights continues today.

DGA Quarterly Winter 2010-11 Steven Ross
Steven J. Ross
Steven J. Ross, chairman of the history department at USC, looks at the labor conditions that contributed to the founding of the Guild.
DGA Quarterly Winter 2010-11 Before the Guild
Hollywood in the '30s
To understand how directors formed a guild - and, even more important, why they formed a guild - it's necessary to look at labor conditions in Hollywood in the '20s and early '30s.
DGA Quarterly Winter 2010-11 Pionereing Women
Pioneering Women
Any look at the history of directing should include Alice Guy-Blaché, Dorothy Arzner, and Ida Lupino. Not because they were women, but because of their contribution to the craft.
DGA Quarterly Winter 2010-11 John Ford Stagecoach
Serious Westerns
In an excerpt from a 1971 story in the DGA's Action magazine, John Ford and cast and crew reminisce about the making of Stagecoach.
DGA Quarterly Winter 2010-11 75 Years
Frank Capra's Fight
When President Frank Capra boldly threatened to boycott the Academy Awards in 1939, the Producers Association finally accepted the Guild.
DGA Quarterly Winter 2010-11 War Years
Directors in World War II
The Guild and many prominent directors volunteered their creative talents to help win World War II. Their films from the front left a lasting record.
DGA Quarterly Winter 2010-11 Frank Oz
Frank Oz
The director of Death at a Funeral considers how Bob Hope and Bing Crosby could get away with anything in their Road films.
DGA Quarterly Winter 2010-11 Screening Room
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.
DGA Quarterly Winter 2010-11 Errol Morris
Errol Morris
The form and tools of documentary filmmaking have changed over the years, but what motivates Errol Morris is the pursuit of truth.
DGA Quarterly Winter 2010-11 Piracy
Cloud Computing
Cloud computing presents an encouraging new business model for the entertainment industry, but it will require vigilance to protect intellectual property and compensation.
DGA Quarterly Winter 2010-11 Arthur Jacobson
New York to Hollywood
Starting out cleaning lights at Biograph Studios, Jacobson worked his way up to 1st AD with on-the-fly solutions like substituting iced tea for whiskey to keep W.C. Fields sober.
DGA Quarterly Winter 2010-11 Eric Stacey
Blowing in the Wind
With one letter of reference and a British taxi, Stacey arrived in LA from England and worked his way up to AD, a profession he chose because it paid $5 more per week than DP.
DGA Quarterly Winter 2010-11 Chico Day
Gentleman AD
The first Mexican-American admitted to the Guild (in 1937), Day was known for his professionalism - so much so that C.B. DeMille told him he'd never do a picture without him.
DGA Quarterly Winter 2010-11 Shot to Remember
Deliverance
Using a skeleton crew and real actors, John Boorman captured the physical challenge of navigating rapids in Deliverance.
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