Shot on 16 mm for the shoestring sum of forty thousand dollars, Susan Seidelman’s 1982 debut feature, Smithereens, is a remarkably unvarnished time-capsule view of downtown New York City in all its grungy glory. The film’s heroine, a narcissistic young woman named Wren (Susan Berman), leaves behind her native New Jersey to chase rock-and-roll fame, sneaking into shows at the Peppermint Lounge, papering the city with flyers featuring her face, and trying to pal around with the leading lights of the fading underground (including a musician played by punk icon Richard Hell). In this clip from a supplement on our new edition of Smithereens, Seidelman and Berman recall what it was like shooting on location, without permits, in neighborhoods such as the East Village and SoHo, and how the empty lots and crumbling buildings of a city that had just come out of a bankruptcy crisis became key to the film’s scrappy texture.
Liv Ullmann Recalls “Shattering” Moments on the Set of Shame
While working on Ingmar Bergman’s devastating antiwar film, the actress developed an emotionally intense chemistry with her costar Max von Sydow.
The Real-Life Rage That Fueled Lee Grant in In the Heat of the Night
In this excerpt from a new interview, the actor talks about how she channeled her political anger in the role of a distraught widow in Norman Jewison’s Oscar-winning crime drama.
Writing with the Body: Mikey and Nicky as an Actors’ Showcase
Elaine May populated her gangster-film masterpiece with acting heavyweights who could bring spontaneity to their roles. Critics Richard Brody and Carrie Rickey talk about her approach to performance in this clip.
How Hitchcock Pulled off a Shot for the Ages
Award-winning cinematographer John Bailey discusses the complications that Alfred Hitchcock faced trying to execute one of the most ambitious shots in his filmography.