Writers on Film

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Lynne Sachs: Portrait of a Filmmaker Who

Season 1, Ep. 23

John Bleasdale talks to Lynne Sachs, the Memphis born, Brooklyn based filmmaker on the eve of a season of her works being streamed on the Criterion Channel. Since the 1980s, Sachs has created cinematic works that defy genre through the use of hybrid forms and collaboration, incorporating elements of the essay film, collage, performance, documentary and poetry. Her films explore the intricate relationship between personal observations and broader historical experiences. With each project, she investigates the implicit connection between the body, the camera, and the materiality of film itself.

 

Over her career, Sachs has been awarded support from the Guggenheim Foundation, the NYFA, and Jerome Foundation. Sachs has made 40 films (including Tip of My TongueYour Day is My NightInvestigation of a Flame, and Which Way is East). Her films have screened at the Museum of Modern Art, Wexner Center, the Walker, the Getty, New York Film Festival, and Sundance. In 2021, Edison Film Festival and Prismatic Ground Film Festival at Maysles Documentary Center awarded Sachs for her body of work.

 

Sachs is also deeply engaged with poetry. In 2019, Tender Buttons Press published her first book Year by Year Poems. In 2020 and 2021, she taught film and poetry workshops at Beyond Baroque, Flowchart Foundation, San Francisco Public Library, and Hunter.  www.lynnesachs.com


After comprehensive career retrospectives at Sheffield Doc/Fest 2020 and the Museum of the Moving Image in 2021, the Criterion Channel is delighted to announce that director Lynne Sachs’ films will join the Channel in October 2021 along with a newly recorded director interview exploring her works. Sachs will be making her the Criterion Channel debut with seven earlier works followed by her latest feature, Film About a Father Who, recently released theatrically by Cinema Guild and receiving its exclusive streaming premiere with the Criterion Channel. 

 


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11/28/2021

Ian Nathan talks Peter Jackson and the Making of Middle Earth

Season 1, Ep. 31
John Bleasdale talks to Ian Nathan about Peter Jackson and his book Anything You Can Imagine: Peter Jackson and the Making of Middle Earth. The definitive history of Peter Jackson's Middle-earth saga, Anything You Can Imagine takes us on a cinematic journey across all six films, featuring brand-new interviews with Peter, his cast & crew. From the early days of daring to dream it could be done, through the highs and lows of making the films, to fan adoration and, finally, Oscar glory.LightsA nine-year-old boy in New Zealand's Pukerua Bay stays up late and is spellbound by a sixty-year-old vision of a giant ape on an island full of dinosaurs. This is true magic. And the boy knows that he wants to be a magician.CameraFast-forward twenty years and the boy has begun to cast a spell over the film-going audience, conjuring gore-splattered romps with bravura skill that will lead to Academy recognition with an Oscar nomination for Heavenly Creatures. The boy from Pukerua Bay with monsters reflected in his eyes has arrived, and Hollywood comes calling. What would he like to do next? 'How about a fantasy film, something like The Lord of the Rings...?'ActionThe greatest work of fantasy in modern literature, and the biggest, with rights ownership so complex it will baffle a wizard. Vast. Complex. Unfilmable. One does not simply walk into Mordor - unless you are Peter Jackson.Anything You Can Imagine tells the full, dramatic story of how Jackson and his trusty fellowship of Kiwi filmmakers dared take on a quest every bit as daunting as Frodo's, and transformed JRR Tolkien's epic tale of adventure into cinematic magic, and then did it again with The Hobbit. Enriched with brand-new interviews with Jackson, his fellow filmmakers and many of the films' stars, Ian Nathan's mesmerising narrative whisks us to Middle-earth, to gaze over the shoulder of the director as he creates the impossible, the unforgettable, and proves that film-making really is 'anything you can imagine'.