Love in the Afternoon deserves credit for its artistic merit but also for serving as the beginning of a beautiful affair between Billy Wilder and I.A.L. Diamond.
Director Marc Isaacs talks with PopMatters about his documentary, The Filmmaker’s House, and the creative ‘grey area’ in filmmaking.
In his melodrama The Nest, director Sean Durkin considers how we latch onto and accept cycles and routine, which offer only a superficial security from truth, shame and guilt.
Remember the pre-CGI visual beauty of Fantasia? Fischinger, who also worked with Orson Welles, Fritz Lang, among others, invented the "lumigraph" (a machine for "playing" colors on screen). This guy should be put on a stamp.
Director Elaine May belongs to that list of otherwise male creative geniuses who naturally clash with the commercial system, including Erich Von Stroheim, Orson Welles, and Otto Preminger.
"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.
"[While] the rest of us were toying with chemistry sets [Tommy Wiseau] was lighting the lab on fire," says Greg Sestero in his film memoir about The Room.