Issue link: https://digital.copcomm.com/i/798465
6 DGA QUARTERLY ADAM DAWTREY ("The DGA Interview") notes he's "exactly the same age as Sam Mendes," and from a similar London suburb. "We were born five weeks and 30 miles apart in 1965. That might be grounds for envy, but he's so engaging and intelligent, it's impossible to feel anything other than a certain local pride for his prodigious talents." In researching his story, ROB FELD ("A Different Kind of Movie Magic") was made privy to Jon Favreau's "deep set of responsibili- ties" in adapting animated classics into live-action features. "If you don't live up to [the audiences'] expectations," said the direc- tor, "it undermines their connection to the material." Rob is a regular contributor to DGA Quarterly. WHITNEY FRIEDLANDER ("No Turning Back") is a '90s child who recalls that the build- up to thirtysomething's shocking death scene made for tantalizing slumber party conversa- tion. She jumped at a chance to interview the show's actors-directors because "it felt like re- membering the birth of peak TV." Whitney covers television, fash- ion and movies for Esquire, Marie Claire, Paste and Complex. MICHAEL GOLDMAN ("The Body and Soul of Live Casting ") was struck by the challenge faced by television directors to re- tain input in casting as technology encroaches on the process. "The directors I interviewed explained there is a creative cost to phasing out traditional casting sessions." Michael is the au- thor of John Wayne: The Genuine Article and Clint Eastwood: Master Filmmaker at Work, and contributes to American Cinematographer. For EMILY ZEMLER ("Screening Room"), viewing Superman with Patty Jenkins was "in- fectious." Her favorite part of the day, though, was walking into Jenkins' office to see several Wonder Woman Barbie dolls. "I wanted to play with them immediately," recalls Emily. "I'm still hoping she'll give me one." Emily also writes for the Los Angeles Times, ELLE and Esquire. MARGY ROCHLIN ("If You Can't Stand the Heat…") discovered that when it comes to contestants on cooking competition shows, villains don't have to be created, they just emerge. "Brian Smith said, 'If you're in traffic on the highway, one person can sit listen- ing to classical music while somebody else will be honking on their horn. People are who they are and if you're in a stressful situation, your character comes out that way.'" Margy is a PEN Award- winning writer who contributes regularly to The New York Times. CONTRIBUTORS