Cinematography, Filmmaking, Interview, Screenwriting, Screenwriting 101 ‘Miller’s Crossing’ at 30: A Lamentation of Losers by the Coen Brothers
Filmmaking, Interview, Screenwriting, Screenwriting 101 Paul Thomas Anderson’s ‘Hard Eight’, AKA ‘Sydney’: “It’s Always Good to Meet a New Friend”
Cinematography, Filmmaking, Interview, Screenwriting, Screenwriting 101 Lived All Our Best Times Left With the Worst: Christopher Nolan’s ‘Memento’
Cinematography, Filmmaking, Interview, Screenwriting, Screenwriting 101 “No One Is Just Anything”: In William Friedkin’s ‘Sorcerer’, Four Reduced Men Must Gamble with Life to Give It Value
Cinematography, Filmmaking, Interview, Screenwriting Carol Reed’s ‘Odd Man Out’—Too Long In ‘The Third Man’s Shadow?
Cinematography, Documentary, Filmmaking, Interview, Screenwriting, Screenwriting 101 New Model Arnie: How James Cameron’s ‘Terminator 2: Judgment Day’ Held True to Its Exploitation Roots Whilst Remodelling the Action Blockbuster Template
Cinematography, Documentary, Filmmaking, Interview, Screenwriting, Screenwriting 101 ‘Stalker’: Andrei Tarkovsky’s Merger of Contemplative Style and Transcendental Substance Designed to Put Us in the Zone
Cinematography, Documentary, Filmmaking, Interview, Screenwriting, Screenwriting 101 Stanley Kubrick’s original treatment for ‘The Shining’
Cinematography, Filmmaking, Interview, Screenwriting, Screenwriting 101 Peter Weir’s ‘Fearless’ as a Soulful Slice of Life That Gently Examines the Human Condition
Cinematography, Filmmaking, Interview, Screenwriting, Screenwriting 101 Life and Death in a Northern Town: Mike Hodges’ ‘Get Carter’