Peter Bogdanovich
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Peter Bogdanovich on How TV Grew From Rio Bravo, Orson Welles and Making What’s Up, Doc? on a Dare
Having now completed the long journey from upstart/wunderkind to venerated elder statesman, Peter Bogdanovich has amassed a lengthy CV that includes a celebrated career directing pictures, an early post programming films at the Museum of Modern Art, teaching, writing and, not unlike his mentor, Orson Welles, taking up the odd acting job. His contribution to the cinema in 2018 was twofold. First, he made the documentary The Great Buster, an interview-heavy appreciation of the pantheon silent filmmaker, Buster Keaton. His other project this year was, by design, one that required vigilant self-effacement—that’s the long-awaited post-production and release of Orson Welles’s The […]
by Jaime Christley on Oct 5, 2018 -
Behind the Crowdfunding Campaign to Finish Orson Welles’ The Other Side of the Wind
At first, I viewed the Indiegogo campaign to help finish Orson Welles’ last film as a desperate attempt to solve a troubled situation. I was hauling in all my feelings about the Kickstarter saturation that has infected indie film culture. Everyone and their mother is crowdfunding their films — now the late Orson Welles? It felt like a violation against his legacy and made me incredibly sad. After all of this time, Orson Welles still can’t raise money the “normal” way?! But now, after much thought and digging, I see the campaign as a triumphant way to actively and symbolically help […]
by Peter Rinaldi on Jun 11, 2015 -
“I See No Difference Between the Two”: On Cinema’s Role in Society
by Zachary Wigon on Jan 24, 2011
“I see no difference between the two”: cinema’s role in society. By Zachary Wigon. -
Criterion: America Lost and Found: The BBS Story
In a recent edition of his ongoing online column “Movie Answer Man,” Roger Ebert was faced with the following reader-submitted query: “Since good movies can now be cheaply made, why aren’t we seeing more of the kind of arthouse films that were so influential in the ’60s and ’70s?” Ebert’s response, while relatively curt, was two-fold. “1.) It is very expensive to release, promote, and advertise any movie,” he began. Fair enough — as any independent filmmaker knows, simply getting your movie made is just one small initial hurdle…and as any viewer who watches contemporary independent films can sadly attest, […]
by Travis Crawford on Dec 16, 2010
