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Our Day

Apr 2, 2009 — Writing the screenplay with Suzanne Schiffman, I intended to do for the theater what I had done for the cinema in Day for Night: the chronicle of a troupe at work, within a framework respecting the unities of place, time,...

May 12, 2008 — This intensely personal work about a self-destructive young man would help alleviate Louis Malle’s doubts about his career.

Jan 14, 2008 — As Japan was coming out of World War II, Akira Kurosawa was coming into his own as a filmmaker.

Oct 16, 2007 — Ididn’t create the Criterion office’s word-of-the-day bulletin board, but I’m the latest logophile to carry the torch, er, dry-erase marker and update the white board in the kitchen. Occasionally someone will ask me what a certain word means (psocid was...

Sep 17, 2007 — I set out on my first trip to the Toronto Film Festival ready to feast on films and spend relaxed, indulgent, quality time with writers I work with, or hope to work with, as the editorial director here at Criterion....

Remembering Mr. Altman

Production Notes

Nov 23, 2006 — I first met Robert Altman in person in 1999, when I was producing a series of video introductions featuring contemporary directors discussing their favorite Janus films. Altman was the first Criterion director to respond to our request. We had sent...

May 22, 2006 — Luis Buñuel’s merciless satire concerns the smallness of our vision of progress and our narrow attempts to achieve it through rational or moralistic planning.

Sep 13, 2004 — About a year and a half ago, a friend and I found ourselves exiled to a cold Midwestern city, where we spent most of our time missing the lazy Texas college town that shaped our idea of the good life....

May 24, 2004 — By piling on naturalistic details to keep the heat constantly in our minds, Akira Kurosawa creates a visual and behavioral excess that highlights the fixation of his hero on retrieving his stolen gun.

Schizopolis

Essays

Oct 27, 2003 — Attuned to the ineffable weirdness and crushing mundanity of workplace paranoia, Steven Soderbergh’s film finds anger and sorrow in the way we brutalize our means of communication

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