From the editor and writers of Bright Lights Film Journal
Action! Interviews with Directors from Classical Hollywood to Contemporary Iran
(Anthem Art and Culture), by Gary Morris (Editor), Bert Cardullo (Introduction), Jonathan Rosenbaum (Foreword). London and New York: Anthem Press, 2009.
"I dare anyone to squeeze between two covers a more varied, useful and flat out entertaining sampling of the personalities that make the seventh art the liveliest."
David Hudson,
Graham Daseler

Graham Daseler is a graduate of the University of California, Santa Cruz, with a degree in film and digital media. He lives in Los Angeles, where he works as a director and editor of music videos and commercials. He is also a photographer and freelance writer.
» The Fall of the House of Warner: The Warner Brothers (BLFJ 82 – November 2013)
"In the 1930s, Warners effectively became the studio to go to for social critique, a risky position to hold under the Hays Code when pictures could be censored not just for violence and indecency but for criticizing the U.S. government, as well."
» Infinite Jest: The Big Lebowski (BLFJ 81 – August 2013)
"What makes The Big Lebowski seem so circuitous is that, in moving from A to B to C, the plot keeps dawdling at points of interest along the way, stopping to admire the scenery before picking up and moving on. That's essentially what Quintana and Brandt and Da Fino are: local color. It's a movie about the pleasure of the journey, not the arrival at the destination."
» Kangaroo Court: On Bruce Beresford's Breaker Morant (BLFJ 80 – May 2013)
"Indeed, if there is a single distinguishing feature of Beresford's technique, it is a persistent evenhandedness that refuses to either exalt or vilify. In writing the screenplay for Breaker Morant, he explains, 'I wasn't interested in making these men out to be heroes. I wasn't trying to whitewash the situation. What I was interested in was the moral responsibility in times of war."
» Depth Takes a Holiday: Good Bad Movies (BLFJ 80 – May 2013)
"Good bad movies have been around since the dawn of cinema. Logically, they cannot be more common to one era than another. If you're looking for empty-headed entertainment on a Saturday night, you could pop in an early Chaplin short just as easily as The Cannonball Run (1981), especially once you realize how much they have in common."
» The Complex Art of Murder: On The Talented Mr. Ripley (BLFJ 79 – February 2013)
"The Ripley of the novel was like an arsonist, snidely torching the social hierarchy that refused him admittance; the Ripley of the film is more like Charlie Chaplin in a china shop: every time he reaches to pick up a broken plate, he crashes into another shelf."
» Cutters' Way: The Mysterious Art of Film Editing (BLFJ 78 – November 2012)
"The basic rules of film editing, first established in the silent era, still govern the industry today: maintain your eye lines, preserve continuity, respect planarity (the rules governing the transposition of three dimensions onto a two-dimensional plane), find a good rhythm, and, most important, always advance the story."
» La Bete Humaine: Runaway Train (BLFJ 76 – May 2012)
» Changeling: The Comic Art of Woody Allen (BLFJ 75 – February 2012)
"'You can't control life,' he tells us in that film. '"It doesn't wind up perfectly. Only art you can control. Art and masturbation.'"
» The Tortoise and the Hare: My Dinner with Andre (BLFJ 74 – November 2011)
"For the performer, the movie offers an even more metaphysical quandary: how do you play yourself? 'The thing that drove me nuts,' Andre explained, 'is that I'm playing a character based on me. So then the question is, who am I? And which Andre?'"
» Meet the Devil: Remembering John Huston (BLFJ 74 – November 2011)
"Huston once described his job to John Milius like this: 'You will confer with generals, you will dine at the table with kings, and you will sleep with titled women. All of this you will do while being dead broke. That's what being a director is.' Should we even feign surprise that when it came time to make The Bible he cast himself as the voice of the Almighty?

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