The Criterion Collection
Aug 28, 2007 — Having studied everything but film in college, I never would have imagined that landing a job in the DVD industry would help me get more out of fashion magazines. But sitting in the front office at Criterion, seeing every person...
Essays
Dec 2, 1991 — Director Akira Kurosawa had wanted to make Throne of Blood for some time. “After finishing Rashomon [in 1950] I wanted to do something with Shakespeare’s Macbeth, but just about that time Orson Welles’s version was announced, so I postponed mine.”...
The actor and director talks about his formative experiences watching Miller’s Crossing, Hollywood Shuffle, and The Elephant Man; praises films by past collaborators, including Richard Linklater and Terrence Malick; and shouts out a very special Criterion commentary.
The musician reminisces about Repo Man playing permanently on his tour bus, shares why The Flight of the Phoenix is a relaxing Sunday movie, and selects favorites by David Lean and Marlon Brando.
Chuck Klosterman is the author of Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota (2001), Sex, Drugs, and Cocoa Puffs (2003), Killing Yourself to Live: 85 Percent of a True Story (2005), Chuck Klosterman IV (2006), Downtown...
Brian K. Vaughan is a writer of graphic novels and for television. He received five Eisner Awards for the comic book series Y: The Last Man.
Paul Mayersberg started as a film critic, worked as an assistant to Jean-Pierre Melville, Joseph Losey, and Roger Corman, and became the screenwriter of The Man Who Fell to Earth, Merry Christmas Mr. Lawrence, Eureka, and Croupier. He is the...
Writer, filmmaker, and broadcaster Kevin Jackson (1955–2021) was the author or editor of more than thirty books. He contributed regularly to Sight and Sound, the Guardian, and BBC Radio 4’s Saturday Review, and his documentary work included coproducing Humphrey Jennings:...
Aug 20, 2024 — In her formally daring debut feature, Martha Coolidge stages a confrontation with the subject of date rape that questions the kind of “closure” required in conventional storytelling.