Latest news with #CriterionCloset
Yahoo
08-07-2025
- Entertainment
- Yahoo
Dick Cavett Says John Cassavetes ‘Chewed Out' His ‘Husbands' Co-Stars After Infamous Talk Show Appearance: They Were ‘Total A***s'
Dick Cavett is still miffed about a publicity stunt 50 years later. The iconic talk show host, who led his own eponymous series for decades, visited the Criterion Closet (in the below video) to reminisce about a few of his most beloved films — and most infamous moments on his series. Cavett recalled how the cast of 'Husbands' were some of the most 'crappy' guests on 'The Dick Cavett Show' in 1970. Actors Peter Falk, Ben Gazzara, and John Cassavetes, who also directed the film, appeared on Cavett's show on September 18, 1970. The trio pretended to faint, stripped off their socks, and had a meandering discussion onstage. Watch it here. Apparently, it was so bad that Cassavetes preemptively blamed whether or not 'Husbands' flopped in theaters on the talk show appearance. More from IndieWire Ari Aster and Lars Knudsen Want to Help You Get Your Movie Made Dakota Johnson: 'I Dream of Playing' a Psychopath 'That's the movie that these three guys came on and made total asses of themselves. You can find it online: 'The Worst Show Dick Cavett Ever Did,'' Cavett said. 'They goofed around the whole time and did very funny things, like taking off your shoes and smelling their feet. Afterwards, John Cassavetes himself chewed them out mercilessly, and said, 'You have just unsold most, if not all, of the tickets to this movie.'' He added, 'And they were like three kids being smashed with criticism. It was sort of sad to say, but it didn't make up for how crappy they were on the show.' 'Husbands' went on to premiere at the San Francisco International Film Festival in October 1970. Though now a respected classic, the film did not initially land with audiences: ticket buyers apparently walked out of the premiere, and the Los Angeles Times said the film was 'the most unanimously detested' film at the festival. IndieWire's Ryan Lattanzio wrote in a retrospective essay that 'Husbands' was later critically acclaimed and became an inspiration for directors such as Judd Apatow. 'The dark night of the soul shared by Cassavetes, Gazzara, and Falk in 'Husbands,' captured with the in-your-face quality of a cinéma vérité documentary by cinematographer Victor J. Kemper, lands all the characters in the doghouse with themselves, their wives, and each other… 'Husbands' remains a must-see Cassavetes classic as a look into what's happening on the other side of a woman's panic.' Also while in the Criterion Closet, Cavett quipped that the late Katharine Hepburn would be frustrated with the modern 'The Philadelphia Story' Blu-ray cover. 'Katharine Hepburn I think would be annoyed that she's only a small figure in this picture,' he said, adding that he had a unique bond with Hepburn. 'It never occurred to me that I would ever get her to do these shows [like 'The Dick Cavett Show']. She called and she said, 'You know you've made me a goddamn saint. Everywhere I go, if I go shopping, people suddenly adore me more than ever before.'' And despite his trip to the viral closet, Cavett won't be doing his Letterboxd four favorites anytime soon. ''What's your favorite movie?' sort of irritates me,' Cavett said. 'Is there really any one movie that tops them all? I would rather people not ask me what my favorite movie is. But if you want to know, my favorite movie is 'The Third Man.'' Check out Cavett's full visit to Criterion below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Los Angeles Times
01-07-2025
- Entertainment
- Los Angeles Times
Stepping in the footprints of a T. rex, Alexandre Desplat picks up the baton for ‘Jurassic World Rebirth'
An enormous shadow hovers over the characters in 'Jurassic World: Rebirth,' and it's the same one that has been dogging composer Alexandre Desplat ever since he was a teenager in Paris. That shadow? The music of John Williams. 'He's such a legend for all of us,' says Desplat, 63, on a Zoom call from London, where he's been burning the midnight oil on the score for Guillermo del Toro's upcoming 'Frankenstein.' 'He's just the only one to follow.' Like Williams, Desplat is now a grizzled (though painterly handsome) veteran himself, with hundreds of films to his name. He's already completed three scores this year alone — for the French-Swedish Palme d'Or nominee 'Eagles of the Republic,' Wes Anderson's 'The Phoenician Scheme' and this week's 'Jurassic' heavyweight. He's also making his North American conducting debut on July 15 in a grand survey of his film career at the Hollywood Bowl, a fitting, if overdue, coronation of his two-decade reign as an A-list composer in America. When Desplat began scoring Hollywood films in the early 2000s, his music swept in like a breath of fresh French air — elegant, restrained, melodic, idiosyncratic — and the list of filmmakers who sought him out reads like a sizable section of the Criterion Closet: Terrence Malick, Ang Lee, Kathryn Bigelow, David Fincher, Jonathan Glazer, Greta Gerwig. His ride-or-die partner is Anderson, who first employed him on 'Fantastic Mr. Fox' in 2007 and who teed up Desplat's first Oscar win with 'The Grand Budapest Hotel.' (He's been nominated eleven times.) May's 'The Phoenician Scheme' marked their seventh collaboration. 'As I started being a film composer, I had my idols in sight — of course Hitchcock and Herrmann, David Lean and [Maurice] Jarre, [François] Truffaut and Georges Delerue,' Desplat told me in 2014. 'All these duets were strong and they showed how important the intimacy between a director and a composer would be for both of them. It's not only good for the film, it's good for the composers, because these composers actually developed their own style by doing several movies with the same director.' In a town too often filled with generic, factory-farmed scores, his were like a gourmet French meal, even though he grew up on the same diet of American movies and their iconic scores. The young Desplat was obsessed with U.S. culture — listening to jazz, watching baseball and the Oscars — and he decided he wanted to score movies after he heard 'Star Wars' in 1977. Emblazoned on the cover of that iconic black album were the words 'Composed and Conducted by John Williams.' 'That,' Desplat told his friend at the time, 'is what I want to do.' It's fitting and kind of funny that two decades after charming audiences with a delicate, waltzing score for the 2003 Scarlett Johansson prestige picture 'Girl with a Pearl Earring,' the composer is now promoting a stomping monster score for a blockbuster behemoth starring Johanssson and a bunch of CGI dinosaurs — and tampering with John Williams' sacred musical DNA. 'Jurassic World: Rebirth' isn't the first time he's had to brave the T-rex-sized footprints of his hero: Desplat scored the final two films in the 'Harry Potter' series, and he was also the first composer on 'Rogue One: A Star Wars Story.' He left the latter when Tony Gilroy took over the project from original director Gareth Edwards, and before composing any notes. 'I went as far as the change of directors and change of plans,' Desplat explains, 'and the weeks passing by, and then I had to move on because I wanted to work with Luc Besson' (on 2017's 'Star Wars'-esque 'Valerian and the City of a Thousand Planets'). Much like his work on 'Harry Potter,' Desplat's odes to Williams in 'Rebirth' are more whispers than shouts — though there are a handful of overt declarations of both the iconic anthem and hymn for Steven Spielberg's 1993 dino-masterpiece. More subtle homages arrive in his use of solo piano and ghostly choir, and in the opening three notes of his motif for the team led by Johansson's character — a tune that almost begins like Williams' 'Jurassic' hymn. 'So there's a connection,' Desplat says. 'I take the baton and I move away from it.' He composed new leitmotifs for wonder, for adventure, for danger. His score, much like the original, is an amusement park ride full of sudden drops, humor and family-friendly terror, with a few moments of cathartic, introspective relief. Mostly, Edwards kept pushing him for more hummable motifs. 'When I was tempted to go back to something more abstract — you know, French movie,' Desplat says, winking — 'he would just ask me to go back towards John Williams' inspiration of writing great motifs that you can remember and are catchy.' Desplat worries this is becoming an extinct art in Hollywood. 'I don't hear much of that in many movies that I watch,' he says. 'It's kind of an ambient texture — which is the easiest thing to create.' In college, he would listen to the 'Raiders of the Lost Ark' score on a loop, and as his own scoring career developed, he was paying keen attention to John Williams' more intimate chamber scores like 'The Accidental Tourist' and 'Presumed Innocent' — as well as juggernauts like 'Jurassic Park.' Besides the music itself seeping in, he learned that it was important to score every kind of film, no matter how big or small. Williams' work also taught him 'that I could have something elegant, classical, but with some seeds of jazz in the chords or in the way the melody evolves.' Whenever he hears someone talking dismissively about Williams, Desplat gets defensive. 'I want to punch them,' he says, only half kidding. 'He's the master, what can I say?' Desplat told me in 2010. 'He's the man. He's the last tycoon of American movie music. So that's everything said there. He drew a line and we just have to be brave and strong enough to try and challenge this line. With humility, but with desire. It's a kind of battle.' When Desplat received his first Academy Award nomination, for 'The Queen' in 2007, the one person who called from Los Angeles to congratulate him was Maurice Jarre, composer of 'Lawrence of Arabia' and 'Doctor Zhivago.' Desplat had met the French legend a few times over the years, including an early invitation to a mixing session for the 1990 film, 'After Dark, My Sweet.' Desplat was aghast when he saw director James Foley taking away Jarre's melody and all the various musical elements on the mixing board, save for a simple electronic thump. The young composer expressed his dismay and Jarre calmly said: 'It's his film. I have to accept that.' 'That's a lesson that I learned very early on,' Desplat says. 'I've never forgotten that, because it's still the same,' he laughs. He was also warmly received as a young man by Georges Delerue, the great serenader of the French New Wave in films like 'Jules and Jim' and 'Contempt.' 'They were so kind,' Desplat says, 'such sweet men, both of them.' (Michel Legrand? Not so much, Desplat says: 'He said awful things about me in books.') What they all have in common — besides a penchant for composing beautiful music — is the defiant, transatlantic leap from the French film industry where they started to the highest perch in Hollywood. Jarre left Paris in the early 1960s after the enormous success of 'Lawrence' and never looked back, forging meaningful partnerships with directors like Peter Weir and Adrian Lyne. Delerue uprooted from Paris to the Hollywood Hills after winning his first Oscar in 1980 and scored a few hits including 'Steel Magnolias' and 'Beaches.' Desplat started professionally in France in 1985 and wrote roughly 50 scores before 'Girl with a Pearl Earring,' the English-language film that put him on Hollywood's radar. He continues to do French films amid the summer blockbusters and American art house pictures. 'I dreamed of writing for symphonic scores,' Desplat says, 'but for many years there was no way I could do it in French cinema, because the movies didn't offer that, or the producer didn't offer that. I had to learn how to sound big with very little amount of musicians.' He enjoys the freedom of a big-budget project. 'To be able to have a studio say, 'Go, write what you need to write.' The director, he wants an orchestra, he wants 95 musicians. Great! They don't even say anything. You just go and you record. They book the studio. They book the musicians.' Still, the limitations he trained under gave Desplat some of his greatest strengths: creativity, resourcefulness, speed. He had to orchestrate everything himself, which means his music bears a distinctive fingerprint. And composing for small, sometimes unorthodox ensembles gave his music a clean, transparent signature as opposed to the all-too-typical wall of mud. He can't say much about his 100-minute score for 'Frankenstein,' which he just finished recording with a giant orchestra and choir at both Abbey Road and AIR Studios, and which comes out on Netflix in November. The reason he does so many films, Desplat proposes, is because he's lazy. 'I really think that people who work a lot are lazy. That's why they work a lot — otherwise they wouldn't work at all.'
Time Out
06-06-2025
- Entertainment
- Time Out
The Criterion Closet is hosting a free L.A. pop-up for film geeks this weekend
If you're even a casual film lover, you've no doubt heard of the internet-famous Criterion Closet, a physical closet owned at The Criterion Collection offices that's filled with every movie title distributed by the home-video distribution company. And you've likely seen viral videos of pretty much every celebrity you can name—from legendary directors like Martin Scorsese and Bong Joon-ho to famous actors like Cate Blanchett and Isabelle Huppert—giddily choosing beloved films from the closet's expertly-stocked shelves and gabbing about why they hold those titles so dear. And this weekend, you can have your own Criterion Closet experience when a mobile pop-up version rolls up to Santa Monica on Saturday, June 7 and Sunday, June 8. Partnering with the American Cinematheque at the Aero Theatre (1328 Montana Avenue)—in conjunction with its Bleak Week: Cinema of Despair festival—the Criterion Mobile Closet will be free and open to the public on a first-come, first-served basis from 11 a.m. to 8 p.m. on both days. Inside, you'll find more than 1,000 in-print titles from the Criterion Collection, including box sets and releases from the Eclipse and Janus Contemporaries lines. Each attendee will have three minutes to scour the closet shelves, and up to five guests can share a visit to the closet at one time. Excitingly, you'll be able to make like Ayo Edebiri and others by recording your own Criterion Closet video, where you, too, can publicly and passionately champion your favorite flicks. You'll receive a Polaroid photo featuring your selections, as well as a free Criterion tote bag and a printed pocket guide to take home, while supplies last. Film lovers will be able to purchase up to three videos at a 40-percent discount, to celebrate Criterion's big 40th anniversary this year. (Of course, we recommend you pick up a copy of one of the movies that most beautifully capture Los Angeles.) There will also be a limited selection of Criterion merch available for purchase.
Daily Mirror
18-05-2025
- Entertainment
- Daily Mirror
Aimee Lou Wood's ‘enchanting' favourite film available to stream for free
Aimee Lou Wood has named a critically acclaimed film that is currently available to stream for free in the UK Comedian takes aim at 'cheap shot' SNL sketch on Aimee Lou Wood Aimee Lou Wood has revealed one of her top film picks that UK viewers can stream for free. The much-admired film is presently available on Channel 4 and promises to touch your heart in just a little over an hour. The cherished British actress, known for her roles in The White Lotus and Sex Education, recently popped into the Criterion Closet to chat about some of her most treasured films. She highlighted Céline Sciamma's touching work on the themes of youth and bereavement, Petite Maman, labelling it as a 'heartbreaking' film that's a must-see. With the film's critical praise and its brief runtime of 70 minutes, available at no cost on Channel 4, it's easy to fit into your viewing schedule before it disappears from the service, reports the Express. While discussing her top picks, Wood acknowledged Thelma and Louise, accessible on Prime Video in the UK, and Petite Maman as two standout movies. Speaking about the celebrated French creation from 2021, she referred to it as "the sweetest, most haunting, beautiful film and it just tears me apart. "It's just mums, mums. Anything about mums gets me right in the ticker. I love my mum, I've got her name tattooed on my arm. "And I also love [Sciamma's] Portrait of a Lady on Fire, so I love all of her movies, so she's just one of my faves." For those needing more persuasion, cinephiles have shared glowing five-star feedback supporting Wood's enthusiasm for Petite Maman. One enthusiast exclaimed over the motion picture, celebrating it as "A beautiful, tender hug of a film. "And refreshing to have a film mainly from a child's point of view. The child actors were wonderful. As was the pace of the film. Perfection." Another fan commented: "Mysterious, enchanting and very unusual. It draws you into their world and makes you ask questions. Very poignant. I wanted more!" Meanwhile, a fan on Letterboxd raved: "What Céline Sciamma achieves in a mere 72 minutes is dumbfounding." They added: "A moving and tender portrait of familial relationships told through a fantastical but still grounded lens of time travel. My heart is full and I wept as the credits rolled. Sciamma is truly a master of the craft. "I hope every living soul gets a chance to watch this." These glowing reviews make Petite Maman a must-watch for the week. Petite Maman is available to stream on Channel 4.
Telegraph
07-05-2025
- Entertainment
- Telegraph
Building the perfect film collection – with help from Ben Affleck
From the look of the queue stretching down Eagle Rock Boulevard in Los Angeles on a recent Saturday, you might have guessed a Hollywood A-lister was hosting a meet-and-greet. Hundreds of film fans – some of whom had been in line since 5am – were huddled under umbrellas, the rain doing little to dampen their spirits. But the attraction wasn't Timothee Chalamet, Zendeya or Tom Holland. It was a small white van, 16-square-feet inside, packed wall-to-wall with, of all things, DVDs. The Criterion Closet might be small in size but holds a huge place in online movie fandom. Since 2010, it's been the backdrop to over 250 episodes of Closet Picks, a series of beloved YouTube videos in which actors, writers, directors and the occasional musician raid a utility cupboard containing the archive of art-house and world cinema home video distributors Criterion. Guests have a few minutes to pick out DVDs and Blu-Rays of often obscure movies they'd like to take home, waxing lyrical about their admiration for said films as they go. On paper, that might sound like Supermarket Sweep, with less Dale Winton and more Agnès Varda. In actuality, it's more like Desert Island Discs, with guests' film choices becoming jumping off points for short, wholesome insights into who they are and how film has helped shape them. In one episode, songwriter Ben Gibbard of Death Cab For Cutie finds himself on the brink of tears discussing 1984 homelessness documentary Streetwise, because of his sister's involvement in youth homelessness. In another episode, Before Sunrise star Ethan Hawke regales his daughter Maya (of songwriting and Stranger Things fame) with tales of taking her mother, Uma Thurman, to see the John Cassavetes film Husbands on one of their first dates. Whoever the guest is, there's a film in the company's archive – the prestigious Criterion Collection, as it's known – that speaks to their life, their loves, their inspirations as a film-maker and often their anxieties about the world. In a decade and a half, the series has attracted 3.3 billion views and the biggest names in Hollywood; in the last few weeks alone, Ben Affleck, Seth Rogen and Carrie Coon have been among its guests. Closet Picks is often memed and parodied in viral videos that poke affectionately at the reverence of its guests towards cinema. (My personal favourite? The guy who staged his own Closet Picks in the DVD section of a sex shop). And if you venture to one of the world's premier cinephile spaces, you're bound to see at least one person wearing Criterion merch (you know the urban myth about how on the London underground, you're never more than six feet from a rat? That may actually be true of London's Prince Charles Cinema and people clutching Criterion tote bags). Though the closet that hit Los Angeles last weekend wasn't the actual Criterion Closet – that's in the company's New York offices – the mobile version that fans queued for in Eagle Rock, created to celebrate their 40th anniversary, remains a huge draw. The lines in LA mirrored similar queues in Texas at SXSW festival last year, where fans also waited for hours for just a three-minute slot inside. 'How did it come to this,' you might be wondering? And understandably so. Calling Closet Picks' success 'unexpected' is like calling the films of Criterion fave David Lynch 'a little bit kooky.' Physical media is supposed to be dead, its obituary written a thousand times over since the advent of streaming (DVD and Blu-Ray sales slumped 23.4 per cent in 2024, generating under $1 billion in sales; a drastic fall compared to 20 years ago, when sales exceeded $16 billion). And YouTube, lest we forget, is a platform where loud, hyper-bright content is what tends to attract millions of views per video – not static shots of a grey utility cupboard. (Ironically, for a series in which cineastes discuss some of the most beautifully shot cinema of all time, Closet Picks is, for all its other strengths, unavoidably drab in aesthetic.) Unlike other hugely popular YouTube series frequently by Hollywood royalty, there's no grabby hook to the series, or entertaining challenge to watch a celebrity take on. No one is participating in a fake romantic date in a chicken shop in Closet Picks; legendary documentarian Ken Burns isn't forced to put his ability to handle extra spicy sriracha sauce to the test when he makes his appearance in Closet Picks. And yet, the series, as one top Hollywood publicist tells me, rivals those YouTube successes as an 'this genuine against-the-odds sensation. In an otherwise quite cynical time for online content, it's so earnest – literally just people dorking out about DVDs, talking about movies they love. It's that simple.' Part of its popularity is undoubtedly the guests that Closet Picks attracts. Everyone from Gen Z favourites like Ayo Edebiri to old guard icons of the industry like Francis Ford Coppola have recorded episodes, with the series now 'one of cornerstones of any campaign for a star on the awards trail or promoting a new movie,' the aforementioned Hollywood rep continues. 'It's incredibly legitimising to go into the Criterion Closet and talk about your love for Kurosawa or whoever. Even if you're promoting a big popcorny blockbuster with nothing Kurosawa about it, showing off your knowledge and appreciation of cinema can reframe you in the eyes of a particular type of movie fan.' This 'absolutely' would have been the case with Affleck's recent appearance on Closet Picks, they add. The Accountant 2 – the actor's new thriller – has little in common with the films the former Batman star picks out (Jean Renoir's The Rules of the Game, Robert Townsend's Hollywood Shuffle, David Lynch's The Elephant Man, Terrence Malik's Badlands and so on). Appearing on Closet Picks to promote that film, however, 'reminds people he's a serious film lover and generates a bit more warmth among dyed-in-the-wool movie buffs towards The Accountant 2 than might have otherwise been the case,' they explain, adding: 'it's probably no accident that he self-effacingly calls his [famously despairing] DVD commentary to Armageddon the best work of his career here. Ben – or a publicist who advised him, whichever – knows Closet Picks' audience.' The attraction for stars is obvious. The Criterion Closet is a vacuum where all that exists is film – 'I feel like I'm in one of those sensory deprivation pods where you're only surrounded by the greatest cinema ever made,' as Andrew Garfield put it during his appearance in 2024. There are no tricky questions to navigate about rumoured relationships, or whether or not they'd work again with their former co-star, recently arrested on domestic abuse charges. And as for Criterion, Closet Picks is a shop window for their library of over 1,000 titles that no doubt bumps their sales tenfold. The Criterion Collection today is regarded as a hall of fame-style exclusive club to which entry is one of the ultimate cineaste seals of approval. That's at the very least in part due to Closet Picks. But star power isn't what's made Closet Picks a phenomenon. The likelihood is its appeal runs deeper. Over the last few years, a new culture of film fandom has emerged online that Closet Picks' format seems to dovetail with, rooted in a simple idea: that the films you love are a paper trail for your personality, an expression of who you are. View this post on Instagram A post shared by Criterion Collection (@criterioncollection) Since the pandemic, Letterboxd – a social media app for cinephiles in which users log the films they've watched – has grown from two million active users to 17 million, all of whom are invited to share their four all-time favourite movies (a format since developed into a popular celebrity interview series akin to Closet Picks). The text accompanying these selections often reads more like diary entries – confessionals that link these movies to times in users' lives; sometimes sad, sometimes happy, always formative. Closet Picks sees film-makers light up in a wholesome way as they do the same. Is there a bit of pantomime to what films guests select? Probably. A frequent accusation against the series on Reddit and other social media platforms is that there's an element of performance to what some guests choose, opting for the obscure instead of what they actually like to mark themselves out as true cinephiles. But we're living in a time in which streaming services have harpooned access to cinema from more than a decade or two ago. The likes of Netflix have decimated the physical media market that historically made it possible for viewers to watch older films, while simultaneously declining to host classics on their service (as of March, 1973's The Sting was the oldest title on the American version of the platform). Between its physical media and their own streaming service, The Criterion Channel, offering hundreds of historical movies, Criterion as a company are vital to the current film ecosystem – one of the last bastions against that erasure of over 80 years of film history. Any grumbles or eye-rolling about selections, in that light, somewhat slide away. After the extensive crowds in LA, with many people reportedly turned away, Criterion haven't announced where their mobile closet will pop-up next. Wherever it is, expect queues to snake around the block once more. There's a lot of cinema history in those 16-square-feet. The stars who entered the closet – and the films they picked Andrew Garfield Terry Gilliam's Brazil Michael Powell and Emeric Pressburger's The Red Shoes David Maysles, Albert Maysles, and Charlotte Zwerin's Salesman Steve James's Hoop Dreams Mike Leigh's Naked Ken Loach's Kes David Fincher's The Game Todd Solondz's Happiness D. A. Pennebaker's Original Cast Album: Company Juzo Itami's Tampopo Barry Jenkins Ingmar Bergman's Fanny and Alexander Satyajit Ray's The Apu Trilogy Andrew Haigh's Weekend John Cassavetes: Five Films Krzysztof Kieślowski's Dekalog Mathieu Kassovitz's La Haine Joel Coen's Blood Simple Catherine Breillat's Fat Girl Mira Nair's Monsoon Wedding Lynne Ramsay's Ratcatcher David Gordon Green's George Washington Akira Kurosawa's Rashomon The Essential Jacques Demy The Complete Jacques Tati Minnie Driver Joseph L. Mankiewicz's All About Eve Jean-Jacques Beineix's Betty Blue Jane Campion's An Angel At My Table Josh and Benny Safdie's Uncut Gems Jim Jarmusch's Down By Law Edouard Molinaro's La Cage aux Folles Josh and Benny Safdie Mike Leigh's Life Is Sweet Kenji Mizoguchi's The Life of Ohuru Martin Scorsese's World Cinema Project No. 2 Lino Brocka's Manila in the Claws of Light Harmony Korine's Gummo Gus Van Sant's To Die For John Mackenzie's The Long Good Friday Edward Yang's Yi Yi John Lithgow Preston Sturges's Sullivan's Travels Lindsay Anderson's This Sporting Life Martin Ritt's The Spy Who Came in From the Cold The Complete Jacques Tati Brian De Palma's Blow Out Alfred Hitchcock's The Lady Vanishes John Waters
