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.”
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.