Issue link: https://digital.copcomm.com/i/835200
ROBERT KOEHLER ("WWII on a Grand Scale") realized how little he knew about the spectacular event that forms the center of Christopher Nolan's latest epic, Dunkirk . "Dunkirk—or in its proper French, Dunkerque—was the first spot I ever visited in continental Europe, but I had no idea how many thousands of sol- diers were evacuated in so little time in advance of a terrifying Nazi surge." Robert also contributes to Cinema Scope, Sight & Sound and Variety. MARGY ROCHLIN ("The DGA Interview") learned how much Michelle MacLaren's theatrical way with action has to do with her love of dreaming up new places to put the camera. "They had a name for [those shots] on Breaking Bad—'The MacGilligan,'" laughs MacLaren, referencing Vince Gilligan. Margy is a Pen Award-winning writer who contributes regularly to The New York Times. When DAVID HEURING ("The Art of Temperance") con- nected with Jeff Nichols and Adam Stone, Nichols warned: "You are about to interview two of the most self-deprecating people on the planet." Luckily, with prod- ding, the duo let down their guard in favor of insightful reflection on their friendship and working methods. David has been writing about the visual side of filmmak- ing for 30 years, and currently contrib- utes to Emmy, Variety and American Cinematographer. PETER TONGUETTE ("Forgotten Masters") was impressed by Jerry Schatzberg 's interest in realism, even as a fashion photographer. "I'd rather have a model running across a big blank white background, just to make her real, than have her standing there posing," he says. Tonguette writes for The Wall Street Journal and Sight & Sound. ® 6 DGA QUARTERLY PHOTOS: (MIDDLE LEFT) YOUSEF LINJAWI; (TOP RIGHT) TITIA VERMEER; (LOWER RIGHT) ANNE FISHBEIN HUGH HART ("Funny- ish") says "I learned that you have to be very seri- ous about the job of making people laugh. These directors are so thoughtful about their shows, but they can also be very funny themselves. I did a lot of laughing over the course of these con- versations." Hugh Hart covers television and movies for the Los Angeles Times and The Credits.com. PAUL BROWNFIELD ("Wide Screen Visions") says television might be expe- riencing its greatest gravitational pull for certain directors: "It's hard for character- driven films to have exposure and stay in the theaters when we're in a time where you get replaced quickly; and it's an action film that goes there—a big film, a super- hero film," says Jean-Marc Vallée, director of HBO's Big Little Lies. Paul's writing can also be seen in Bloomberg, Businessweek and The New York Times. CARINA CHOCANO ("Waterworks") learned from Glenn Ficarra and John Requa that Richard Linklater was their muse, partly because "he had such an open, collaborative vibe," Requa recalls. "We were like 'that's the way we want our sets to be.'" Carina writes for The New York Times Magazine and Vogue. Her new book, You Play the Girl: On Playboy Bunnies, Stepford Wives, Train Wrecks & Other Mixed Messages, will be published in August. ANN FARMER ("The Director's Right Hand") discovered 1st ADs are sometimes called upon to step in front of the camera, too. Joe Reidy, for in- stance, was corralled to play a student orga- nizer for Oliver Stone, a gambler for Martin Scorsese and—surely his easiest role—an AD for Woody Allen. Ann writes for Emmy magazine and The New York Times. CONTRIBUTORS