Four years ago, in Sarajevo, I assigned my filmmaking students at Film.Factory to make five-minute “remakes” of Seijun Suzuki’s Pistol Opera. One of those students, Ghazi Alqudcy, asked me to costar in his own film, A Celebration, along with Gonzalo Escobar Mora — who subsequently moved to Chicago for a spell, along with another of my Film.Factory students, Emma Rozanski.
Here is Ghazi’s film:
password: filmfactory
[5/28/18] Read more
From the July 1982 issue of Omni; reprinted in Cinematic Encounters: Interviews and Dialogues (2018). As with all the other commissioned pieces I wrote for the Arts section of that magazine, this originally ran without a title; I’ve also done a light edit on this version. Another version of this article appeared in Cahiers du Cinema, with a different title (if memory serves, this was called “Beware of Imitations”).
While I was living in Europe in the 70s, I managed to watch portions of the shooting of films by Robert Bresson (Four Nights of a Dreamer), Alain Resnais (Stavisky…), and Jacques Rivette (Duelle and Noroit), but my trip to Alaska and British Columbia in December 1981 to watch a little bit of the shooting of John Carpenter’s The Thing was surely my most elaborate on-location visit, even though what I actually saw was much briefer in this case — hardly any more than an hour or two at most. And I didn’t even get to speak to Carpenter during my visit; absurdly enough, by arrangement with the film’s publicist, the interview in this piece was conducted over the phone several days later, with Carpenter calling me from Hollywood, after I returned to Hoboken, making the cassette recorder I had carried on my trip completely unnecessary and some portions of this piece necessarily deceitful. Read more
This essay was proposed to Another Gaze, an excellent feminist journal based in the U.K., in June 2020, lightly revised with their helpful suggestions over the next several months after I received a go-ahead from them, and still hadn’t appeared by October 8, 2021. I wished them well, but the editor was no longer responding to my emails, which is why I posted this essay here. P.S. My thanks to Scott Moore for pointing out several typos in the original posting of this piece, now corrected.
P.P.S. (12/16/21): I’m reposting this to celebrate the arrival in my mailbox of the hefty new issue of Another Gaze, including my essay, where I find myself among such fellow contributors as my old pal Lizzie Borden and A.S. Hamrah. My apologies to the editors for my journalistic impatience; it was well worth the wait. — J.R.
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Long before the Coronavirus pandemic set in and many of us suddenly had more time to explore new modes of online viewing and even canon-building, I had been trying to develop and expand my limited acquaintance with the films of Kira Muratova (1934-2018), initially sparked by my 1989 encounter with her masterpiece The Asthenic Syndrome (1989) at the Toronto film festival, two years after I began my twenty-year stint as the principal film reviewer for the Chicago Reader. Read more