| Terrence Rafferty (“Talking Pictures”) last interviewed Martin Scorsese over 20 years ago. “Aside from a little mellowing, he seemed much the same to me now as then, and he’s still as much fun to talk movies with as anyone I’ve ever met.” Rafferty was a staff writer at The New Yorker for 10 years. He now writes frequently about movies and books for The New York Times. |
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Steve Pond (“The Big Show”) has spent time in the control truck for the last 14 Oscar shows and is amazed how the director and his team “give all the right cues at all the right times, and keep control over a scene that, to a layman, looks terrifying and potentially chaotic.” Pond has written for the Los Angeles Times, Rolling Stone, Premiere and Playboy.
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Gary Giddins (“DVD Classics”) says “Film noir is fascinating not least because it peaked in the immediate aftermath of the country’s greatest international triumph; then in 1946, people are sucked into movie whirlpools of paranoia, corruption, and discontent.” Giddins won the National Book Critics Circle Award in criticism for Visions of Jazz in 1998.
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Rob Feld (“Performance Artist”) says “after spending time with Mendes, you can understand the comfort actors feel with him and why they give him the performances they do.” Feld is a screenwriter and producer and a regular contributor to Newmarket Press’ Shooting Script book series.
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Margy Rochlin (“Independent Voice”) was struck by Catherine Harwicke’s understanding that “directing was more than yelling ‘Action!’ She said, ‘How do you keep people invested and excited in your film all the way through? Half the time, it’s psychology.’” Rochlin writes regularly about film and television for The New York Times.
photo by Lisa Jane Persky
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Ann Farmer (“Good News”) says she learned “directing local news is not about pulling a show off without a hitch. It’s about keeping it together when everything’s hitting the fan.” Farmer is a freelance reporter for The New York Times and writes about law, culture and travel.
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Robert Abele (“Shot to Remember”) could sense from Ron Howard how meaningful the Apollo 13 launch sequence was for him. “It was a chance for him to honor the reality of it, but also its potential for cinematic power.” Abele writes about film and TV for the Los Angeles Times and the LA Weekly.
photo by Lisa Jane Persky
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Henry Sheehan (“Murder Most Foul”) wolfed down double-doubles from In-N-Out Burgers with John Sayles while the director devoured Roman Polanski’s violent, sexy The Tragedy of Macbeth. Sheehan appears regularly on KPCC-FM’s “Film Week.”
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