Tag Archives: Movie Directors

Previews: The New Yorker Magazine – Nov 13, 2023

Two people under a red umbrella walking in the rain near the Brooklyn Bridge.

The New Yorker – November 13, 2023 issue: The new issues cover features Kadir Nelson’s “Dumbo” – The artist discusses the seasonal energy of the city, and his sources of inspiration.

Ridley Scott’s “Napoleon” Complex

Ridley Scott photographed by Christopher Anderson.

Does the director of “Alien,” “Blade Runner,” and “Gladiator” see himself in the hero of his epic new film?

By Michael Schulman

On the morning of the Battle of Waterloo, Napoleon Bonaparte was full of catastrophic confidence. His seventy-three thousand troops were camped on a ridge near a tavern called La Belle Alliance. His nemesis, the Duke of Wellington, occupied a slope across the fields, with a mere sixty-seven thousand troops. Over breakfast, Napoleon predicted, “If my orders are well executed, we will sleep in Brussels this evening.” When his chief of staff offered a word of caution, Napoleon snapped, “Wellington is a bad general and the English are bad troops. The whole affair will not be more serious than swallowing one’s breakfast.”

How Can Determinists Believe in Free Will?

By Nikhil Krishnan

Some people think that we can’t be held responsible for what we do, given that our actions are the inevitable consequence of the laws of nature. They’re only half right.

Eclipsed in his Era, Bayard Rustin Gets to Shine in Ours

The civil-rights mastermind was sidelined by his own movement. Now he’s back in the spotlight. What can we learn from his strategies of resistance?

By Adam Gopnik

Reinventing the Dinosaur

Life on Our Planet,” a new Netflix nature documentary, renews our fascination with our most feared and loved precursors.

By Rivka Galchen

New Books: ‘Billy Wilder On Assignment’ (Video)

Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna Billy Wilder

Edited by Noah Isenberg Introduction by Noah Isenberg Translated by Shelley Frisch

Acclaimed film director Billy Wilder’s early writings—brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin.

Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as “Billie”) published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder’s stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood’s most revered writer-directors.

Wilder’s early writings—a heady mix of cultural essays, interviews, and reviews—contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe.

Film historian Noah Isenberg’s introduction and commentary place Wilder’s pieces—brilliantly translated by Shelley Frisch—in historical and biographical context, and rare photos capture Wilder and his circle during these formative years.

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New Arts & Culture Books: “Federico Fellini – The Book Of Dreams” (Rizzoli)

Federico Fellini The Book of Dreams Rizzoli 2020The volume will be released to coincide with the centenary of Federico Fellini’s birth (January 2020), which will be celebrated in Italy with a traveling exhibition on the director that will start its journey from Milan in December 2019.

A highly colorful journey into the boundless territory of a genius’s imagination, this is a work that added a fundamental element to the study of Federico Fellini and his creative experience. From the late 1960s until 1990, the great director used this diary to represent his nocturnal visions in the form of drawings or, as he himself described them, “scribbles, rushed and ungrammatical notes.”

About The Author

Sergio Toffetti, born in Turin in 1951, is president of the Museo Nazionale del Cinema and has published essays on Italian and international cinema, and on the conservation and restoration of film. Felice Laudadio is president of the Fondazione Centro Sperimentale di Cinematografia in Rome. He has overseen numerous cinema events, such as MystFest, EuropaCinema, and RomaFictionFest. Gian Luca Farinelli has been director of the Cineteca of Bologna since 2000. In 1986 he created, together with Nicola Mazzanti, Il Cinema Ritrovato an event dedicated to the history of cinema and the activity of film libraries. Together with Martin Scorsese, Raffaele Donato, Thierry Frémaux, and Alberto Luna he founded the World Cinema Foundation, which brings together about twenty great international directors for the restoration of third-world films.

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Interviews: Director Martin Scorsese On Filmmaking & Death (NYT)

From a New York Times online article (01/02/20):

Martin Scorsese Photo by Philip Montgomery for The New York Times
Scorsese would like to take a year to read and spend time with loved ones. “Because we’re all going. Friends are dying. Family’s going.”Credit…Philip Montgomery for The New York Times

In ways both subtle and substantial, Scorsese sees the world changing and becoming less familiar to him. He gratefully accepted a deal with Netflix, which covered the reported $160 million budget for “The Irishman.” But the bargain meant that, after the movie received a limited theatrical release, it would be shown on the company’s streaming platform.

Scorsese has other aspirations but they have nothing to do with moviemaking. “I would love to just take a year and read,” he said. “Listen to music when it’s needed. Be with some friends. Because we’re all going. Friends are dying. Family’s going.”

Martin Scorsese is the most alive he’s been in his work in a long time, brimming with renewed passion for filmmaking and invigorated by the reception that has greeted his latest gangland magnum opus, “The Irishman.”

And what he wants to talk about is death.

Just to be clear, he’s not talking about the deaths in his movies or anyone else’s. “You just have to let go, especially at this vantage point of age,” he said one Saturday afternoon last month.

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