"People try to be so fussy and particular when they look at politics," observes Zillah, a character in Tony Kushner's 1987 play, A Bright Room Called Day, "but what I think an understandin
By the time that Jeanne Moreau cut the cake for his twenty-fifth birthday on the set of Elevator to the Gallows, Louis Malle had already been joint winner of an Oscar for his work on Jacqu
In one of his sunnier moods, Jean-Luc Godard might have tacked onto The Last Samurai the subtitle une étrange aventure de Tom Cruise.
Generations of Yale students share stories about special moments in Vincent Scully's courses on art and architecture.
I have always marveled at the way in which Abstract Expressionism was able to transform a disparate group of painters, none of whom had shown any particular promise of artistic greatness, into fi
To the fleet of symbolic vehicles currently cruising the screen--their number includes the "Pussy Wagon" that Uma Thurman (in Kill Bill) coldly claims as her own--we may now add Benicio De
Errol Morris: After you left the Johnson Administration, why didn't you speak out against the Vietnam War?
It's a cliché to say that an artist draws his power from his
contradictions, but the lives of the great composers provide easy grist
for the mill.
While filming in Western Australia in May 1999, the critic Robert Hughes
survived--barely--a head-on collision with another car.
The lights go down in the courtroom, a 16-millimeter projector shoots
out its beam, and into the trial blazes evidence of an unprecedented
nature: not a report of criminal events but the crime