DGA Monthly

4 4 I D G A M O N T H L Y DGA Podcast Series : The Director's Cut These podcasts are posted on www.dga.org, or you can search for The Director's Cut or DGA podcast on iTunes, Google Play, or wherever you get your podcast, and stay tuned for many more great conversations! The Director's Cut, the DGA's official podcast, features conversations of Directors talking to Directors about bringing their projects to life. These include some of the events listed in this issue, as well as other recently posted episodes such as: Bong Joon Ho discussing Mickey 17 with moderator Ava DuVernay James Hawes discussing The Amateur with moderator Sarah Pirozek Dan Berk & Robert Olsen discussing Novocaine with moderator Drew Hancock Josh Ruben discussing Heart Eyes with moderator Zelda Williams Martin Scorsese & Griffin Dunne discussing After Hours with moderator Raymond De Felitta View more excerpts and interviews in the Visual History Collection via the link on the homepage of www.dga.org. Recent Visual History Additions The DGA's Visual History Program website contains hundreds of hours of videotaped interviews with Directors and Director's team members discussing their careers and reflections on all aspects of the creative process in film, television and other media. These interviews are indexed for quick retrieval of segments pertaining to specific topics of interest within a particular interview or across the entire collection. Director Jeff Margolis discusses his work in variety television specials, his helming of numerous awards ceremonies and the inventive directorial tactics he implemented to craft memorable shows. Margolis on directing Richard Pryor: Live in Concert: "There was a gentleman who had a company called Special Event Entertainment and he said, 'Richard Pryor has agreed to do a comedy special. But it's gonna be different. It's gonna be the very first comedy special ever done on film, released theatrically.' If a film Director had been hired, they would have done it their way. I wanted to do it my way, and that was the same way I would have done it if I were doing a television special. I would have done it with 10, 11, 12 cameras anyway because the venue was so big. I felt that it was really important — because it was going to be on an 80 foot screen — to show the size of the venue. I did a lot of reverse shots. When the audience was laughing, I had a reverse shot while Richard was laughing as well and moving to the next position. You saw all the tiers of the theater. You saw the size of the place. I always shoot — when I get into those situations — like I shoot all my event specials, all my award shows. I put myself in the fifth row center and I shoot the show like I want to see it. And it was such a hit. I don't know how long it ran. It was the first and it opened up the door for every other comedian to make a film." Jeff Margolis interviewed by Dency Nelson Visual History and Podcasts

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