The feral first three films by Norman Mailer, available in our thirty-fifth Eclipse set, may look primitive, but Mailer had some of the best filmmakers in the business on set to help him out, including verité pioneers D. A. Pennebaker and Richard Leacock. Pennebaker, known for such documentaries as Monterey Pop (1967) and The War Room (1993), was particularly involved, serving as a cinematographer on all three films (1968’s Wild 90 and Beyond the Law and 1970’s Maidstone). A guiding influence on these daring experiments, he was witness to some bizarre behavior. In a new, Criterion-exclusive interview, which we will present this week in two parts, critic Michael Chaiken sits down with Pennebaker to talk about what it was like working on Mailer’s indefinable, anything-goes films. In this first installment, Pennebaker recalls Wild 90 and Beyond the Law.
A Born Editor: Remembering Françoise Bonnot (1939–2018)
The great French editor talks about growing up in the cutting room and how she became one of Costa-Gavras’s most trusted collaborators.
A Sound for Love and Loss: Bo Harwood on A Woman Under the Influence
With just piano and guitar, longtime Cassavetes collaborator Bo Harwood created a score that highlights the melancholy in the director’s acclaimed domestic drama.
A Weekend in Lynch Land
At a two-day festival in Brooklyn, David Lynch diehards got a chance to meditate, walk through their own Eraserhead experience, and hear from the master himself.
From the Tarkovsky Archives
On what would have been his eighty-sixth birthday, we’re celebrating Andrei Tarkvosky’s legacy with a look back at some of the essays and videos we’ve published on his work.