October 2005

Shortly after Jean-Luc Godard released Breathless in1960, an exasperated journalist said to the young director: “Surely you think that a film should have a beginning, middle, and end.”

Earlier this year, I got a call from a friend of a friend—a former executive producer of a children’s television show. He asked me, “Are you interested in writing for television?”

Scott Heim’s 1995 novel, Mysterious Skin, makes for an unlikely film. The story of two eight-year-olds from Kansas who are sexually molested by their little league coach is dark and sad, rife with poignant and haunting detail.

New York cinephiles will endure a great deal of discomfort to see great independent films: the noise of the F train at the Angelika, cramped seating at the Film Forum, the schlep to Brooklyn to see a Wong Kar Wei series at BAM Rose Cinemas.

Written by? Created by? Screenplay by?

Ira Sachs won’t let me watch him bum cigarettes.

A long time ago, in a film school far, far away (from NYU), a young man with big dreams and a small bank account made a short film with a long title. His name was George. And in 1970, between graduating USC’s School of Cinema and pursuing a master’s, George made the student award-winning Electronic Labyrinth: THX-1138 4EB, which he eventually expanded into a feature.

Dear Doc Doctor:

Nobody seems to like my film—they say it’s unclear and hard to follow. Why aren’t they getting the story?