Peter Jackson started out making low-budget splatter movies in his native New Zealand and moved on to explore new cinematic worlds in The Lord of the Rings and The Hobbit trilogies. But no matter how far he’s gone, he’s always made it seem real.
The late Jack Shea served the Guild for nearly 50 years. Our national executive director fondly recalls his contributions—as a president and a person.
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.
In sitcoms as in science, timing is everything. On The Big Bang Theory
, director Mark Cendrowski carefully calculates how to make the jokes work—and has fun doing it.
UPM Allegra Clegg enjoys the challenge of working on complicated films. Beneath her sunny demeanor is a keen negotiating sense.
Saturday Night Fever
John Badham’s Saturday Night Fever
helped create the disco craze of the late ’70s. But nostalgia aside, the climactic dance contest was a precisely directed piece of filmmaking.
Director Anthony Hemingway started his career as one of the youngest ADs in Guild history, eventually helming numerous episodic shows and serving as director-producer on Treme
. But it’s his attention to the human element that has defined his style.
At least not for Noam Murro, who has won two DGA Awards for groundbreaking commercials and conquered tricky special effects in his upcoming feature, 300: Rise of an Empire
. But the one thing he hopes all his work has in common is heart.
Alfonso Cuarón learned to direct in his native Mexico, traveled to Hogwarts for Harry Potter
, and a dystopian future for Children of Men
. For his latest excursion, Gravity
, he goes spacewalking.
The director of the pilot and finale of The Office
reflects on the unconventional beginning and wistful ending of the popular series.
After training as an artist, Steve McQueen has turned his camera on the struggles of life with the darkly beautiful Hunger
. He continues the descent with his first American film, 12 Years a Slave
With the built-in drama of competition, it’s no wonder directors have long been attracted to the world of sports. In a collection of shots, here are some of the triumphs—real and fictional—they’ve captured on film.