Matthew Asprey Gear is the author of Moseby Confidential: Arthur Penn’s Night Moves and the Rise of Neo-Noir (2019) and At the End of the Street in the Shadow: Orson Welles and the City (2016). His writings on film and literature have appeared in the Los Angeles Review of Books and Senses of Cinema, and his fiction in many publications, including Crime Factory. He lives in Glasgow, Scotland. 
Directors · Interviews · Writers & Critics
“There isn’t a fucking comma in the original script [for Dangerfield, aka Scorpio] that I used,” Wilson says. “All that about Burt and double agents is my own experience. If[…]
Directors · Literature and Film · Production History · Writers & Critics
Conrad was more than a mere influence. He was also a direct source of story material. Welles considered himself “made for Conrad” and frequently returned to Conrad’s original stories. Adaptation[…]
The movie’s reviews were mixed, and it failed to make a profit in the summer of 1975. . . . but Night Moves has gone on to be recognised as[…]
Books · Directors · Interviews · Writers & Critics
I could begin to see how the movie was art imitating life and then morphed into life imitating art, with such a palpable sense of the greatest director who ever lived[…]
Directors · Production History
Part I of this article told the story of how Orson Welles, while directing his legendary and never-finished Other Side of the Wind, took time out in early 1975 to[…]
Directors · Production History
2015 marks the hundredth anniversary of the birth of Orson Welles. Despite numerous biographies and critical studies, we are still piecing together the full story of his wild and complicated[…]
My characters try to do the right things, but their feelings, their desires drag them somewhere else, so that they have to “negotiate” with themselves. And that interests me because[…]
