‘Gary, this is Orson Welles. Get over to the Beverly Hills Hotel right away.’
A conversation about suffering, American cinema, loneliness and MY GOLDEN DAYS.
Perpignani: ‘It was very rare that he was satisfied with the first cut.’
‘Life is too short to be a professional.’
‘We stopped looking at political problems as ‘political’ and we started seeing them as ‘moral.’ The consequences of that is a complete blindness to how the world really works.’
Jenni Olson talks preservation, pining and the art of pretend in the making of her literary film essay.
Directors Mike Attie and Meghan O’Hara: ‘It’s an investment in history. They’re trying to understand the soldiers that came before them.’
‘The question is, if you can get that intimacy, what do you do with it?’
Hartley: ‘On the margins, things are always more interesting.’
Guillaume Nicloux: ‘What I wanted to do here is show that Michel is not a provocateur. On the other hand, he’s someone who speaks his mind.’
‘Inspiration is everywhere. You just have to keep your eyes and your mind open.’
Joel Potrykus takes an abiding interest in the depravity of American capitalism and its reflection in angry white young men.