DGA Quarterly Magazine Summer 2020 Do the Right Thing John Turturro Spike Lee

Screening Room

Spike Lee's Inferno

J.C. Chandor discusses the bravura style and prescient politics of Do the Right Thing, and what he learned from it.

Screening Room

In this popular feature, a director talks about a film particularly close to their heart, why the creative choices are inspired, how it influenced their own work, and why the movie continues to resonate for them personally.

DGA Quarterly Magazine Summer 2020 Do the Right Thing John Turturro Spike Lee
Summer 2020
Spike Lee's Inferno

J.C. Chandor discusses the bravura style and prescient politics of Do the Right Thing, and what he learned from it.

DGA Quarterly Magazine Spring 2020 Screening Room Apocalypse Now
Spring 2020
Coppola's Heart of Darkness

Susanne Bier revels in the seduction of power and evil in Apocalypse Now.

DGA Quarterly Winter 2020 Man on Wire
Winter 2020
Davis Guggenheim

In viewing Man on Wire, Davis Guggenheim marvels in director James Marsh's deft reenactments, inspiring use of score and ability to build suspense.

DGA Quarterly Magazine Fall 2019 Screening Room The Talented Mr. Ripley
Fall 2019
Bill Condon

Bill Condon marvels at Anthony Minghella's nuanced take on The Talented Mr. Ripley.

DGA Quarterly Spring 2019 Screening Room David Yates on Jaws
Spring 2019
David Yates

The director behind Harry Potter and Fantastic Beasts, David Yates, waxes nostalgic on the mix of horror, humor and ingenuity in Steven Spielberg’s Jaws.

DGA Quarterly Magazine Winter 2019 Screening Room Taxi Driver
Winter 2019
Damien Chazelle

Damien Chazelle revels in Taxi Driver's nightmarish mix of music, subjective imagery and De Niro in his prime.

DGA Quarterly Magazine Fall 2018 Screening Room The Candidate
Fall 2018
Jason Reitman

As he prepares to unveil his latest film, The Front Runner, about Gary Hart's doomed 1988 presidential run, director Jason Reitman reflects on the film's biggest influence, Michael Ritchie's The Candidate.

DGA Quarterly Magazine Spring 2018 Spacehunter
Spring 2018
Dee Rees

Dee Rees revisits Lamont Johnson's obscure '80s sci-fi pastiche Spacehunter: Adventures in the Forbidden Zone and revels in its scrappy invention and underdog spirit.

DGA Quarterly Magazine Winter 2018 Screening Room The Train
Winter 2018
Guillermo del Toro

Guillermo del Toro shares his passion for John Frankenheimer's large-scale yet intimate WWII drama, The Train (1964).

DGA Quarterly Magazine The Tarnished Angels
Fall 2017
Errol Morris

Director Errol Morris on Douglas Sirk’s The Tarnished Angels

DGA Quarterly Spring 2017 Screening Room Superman
Spring 2017
Patty Jenkins

Patty Jenkins, while in post on her own comic book opus, Wonder Woman, waxes nostalgic on the Richard Donner film Superman.

DGAQ Screening Room The Last Picture Show
Fall/Winter 2016-17
Tom Ford

Director Tom Ford (Nocturnal Animals) muses about Peter Bogdanovich’s astute choices on the timeless The Last Picture Show and why the film continues to resonate for him personally.

Screening Room
Spring 2016
Richard Linklater

Early in his career, Richard Linklater was inspired by the sweeping style, conflicted characters, and unabashed emotion of Vincente Minnelli’s Some Came Running.

DGA Quarterly Magazine Screening Room Nashville
Winter 2016
Paris Barclay

Robert Altman’s Nashville, a brilliantly orchestrated tapestry of national malaise, never gets old. That’s why DGA President Paris Barclay has returned to it over and over again—for inspiration and a guide to great directing.

DGAQ Screening Room The Crowd
Fall 2015
Paul Weitz

King Vidor’s humanity and feeling for ordinary people come alive in his silent masterpiece, The Crowd. Paul Weitz reflects on what makes the film by the DGA’s first president a classic.

DGA Quarterly Screening Room Five Easy Pieces Jack Nicholson
Summer 2015

When Lisa Cholodenko first saw Bob Rafelson’s masterpiece in film school, it was a class in psychological realism. The lesson of openness between director and actor informs her work today.

DGA Quarterly Carnal Knowledge
Winter 2015
Neil LaBute

Neil LaBute pays tribute to the precision and boldness of Mike Nichols’ vision in Carnal Knowledge—a film he admits he has borrowed from freely.

DGA Quarterly Magazine Drawing Board Fall 2014 Cuckoos Nest
Fall 2014
Jean-Marc Vallée

With Jack Nicholson as the volatile R.P. McMurphy and Louise Fletcher as his nemesis Nurse Ratched, Miloš Forman’s One Flew Over the Cuckoo’s Nest emphasized performance over style. And that’s still what impresses director Jean-Marc Vallée.

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.

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.

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.

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.

Fall 2010
Alejandro González Iñárritu

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

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.

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.