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    • Film Comment’s September/October issue features a brand-new design, a special section on the New York Film Festival, and articles on contemporary film acting, criticism in the age of social media, and Charles Burnett’s newly restored To Sleep with Anger.
    • In conjunction with the UK release of his film The Blue Room, French actor-filmmaker Mathieu Amalric chats with Little White Lies about novelist Georges Simenon, classic film noir, and an upcoming project with Arnaud Desplechin.
    • Over at the BFI, cinematographer Tony Richmond shares his experience working on Nicolas Roeg’s The Man Who Fell to Earth. “In reality, a cinematographer’s job is to put the director’s vision on the screen,” Richmond says. “And a lot of directors find it very hard to explain their vision in words. But it was always very simple with Nic Roeg because there are very few directors who had a vision like he does.”
    • Comedy icon Jerry Lewis answers Andy Warhol’s questionnaire for Interview Magazine:
    WARHOL: Do you dream? (What’s the last one you remember?)
    LEWIS: Always (none of your business).
    • For Hazlitt, Colleen Kelsey interviews John Waters about the theatrical rerelease of his sophomore feature, Multiple Maniacs. Speaking on the film’s controversial “rosary job” scene, the director lists Buñuel’s Viridiana, Pasolini’s The Gospel According to St. Matthew, and Kenneth Anger’s Scorpio Rising as influences.
    • Polish composer Zbigniew Preisner speaks with Fandor about his collaborative process with Krzysztof Kieślowski, whose 1988 masterpiece Dekalog returned to the big screen last weekend. “We hardly ever talked about music,” Preisner says. “We talked about life, politics, cars. We went skiing together. But it was spending time together that produced some creative tension, an ambience that meant that in the end everybody knew what to do.”
    • Chaz Ebert recalls her late husband Roger’s love for the films of Agnès Varda.
    • In his report from the Telluride Film Festival, the New York Times’s A. O. Scott writes of Maren Ade’s new film, Toni Erdmann, “If a single movie were enough to silence reports of the death of cinema, it would be this one.”

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