If you’ve seen Boogie Nights, There Will Be Blood, or virtually any other film directed by Paul Thomas Anderson, you know that he is enamored of ornate tracking shots. So it’s no surprise that he’s a fan of Max Ophuls, often identified as cinema’s preeminent practitioner of this craft. Anderson contributed an introduction to Ophuls and his visual flourishes to our special edition of Ophuls’s The Earrings of Madame de . . . . In this two-and-a-half-minute clip from that supplement, he looks at the film’s first shot, with its gorgeous, psychologically motivated camera work. Wedded to the charisma of star Danielle Darrieux, the camera, Anderson says ”moves with her eyes.”
On the Road with Elia Kazan and Budd Schulberg
In this excerpt from an interview on our new edition of A Face in the Crowd, author Ron Briley recounts the research that shaped the film’s insights on politics and media.
A Hidden Figure of the Czechoslovak New Wave Takes the Spotlight
In this excerpt from an interview on the edition of Diamonds of the Night, film programmer Irena Kovarova talks about the work of one of director Jan Němec’s key collaborators, Ester Krumbachová.
Robert Zemeckis Looks Back on His Debut-Film Jitters
In a new conversation with collaborators Bob Gale and Steven Spielberg, the director of I Wanna Hold Your Hand talks about the terror of being a first-time feature director.
How Carlos Reygadas Plans for the Unexpected
Storyboards have been an important part of the Mexican filmmaker’s process from the beginning of his career. In this interview, he talks about the freedom that meticulous pre-planning allows him on-set.