Issue link: https://digital.copcomm.com/i/877064
Tarnished Angels or his reasons for doing so, but as always with him, it was enlightening." Rob regularly contributes to DGA Quarterly. Commercial directors need to be every bit as agile as the superstar athletes they're shooting, industry vets told TERRY STANLEY ("From Pitching Balls to Pitching Products"). And it helps if they're sports fans. Terry regularly writes about advertising, pop culture, tech and TV for Adweek, Emmy magazine and AListDaily. In chatting with director Gillian Robespierre ("Dysfunction Junction"), F.X. FEENEY was struck by the freshness of her per- spective. "I was born in 1978. I come from the first generation where divorce was not taboo. Our parents divorced, and all our friends' parents divorced. What we're now witnessing in comedy is how we processed it." F.X. is the author of Orson Welles: Power, Heart & Soul. While interviewing such directors as Vince Gilligan and Nicolas Winding Refn for his story about the enduring influence of Stanley Kubrick, ROBERT KOEHLER was struck by the various interpre- tations of the late master. "While an American like Gilligan was impressed with Kubrick's drive for showmanship, a Dane like Refn viewed Kubrick in a European framework." Robert writes for Sight & Sound, Cinema Scope and Cineaste. ® JOHN ANDERSON says Jordan Peele, writer/ director of the gothic horror satire Get Out ("Cheers for Fears"), was "very serious about the art of directing," even though Peele was best known as half of the comedy duo Key & Peele. John writes for The Wall Street Journal. CHRIS MORRIS ("Filmmaking in the 4K Age") likes to look at possible futures, so he jumped at the chance to examine the challenges of filmmak- ing with state-of-the-art tools, and how those tools force directors to re-examine their techniques and beliefs. He came away with an even greater appreci- ation of risk takers. Chris regularly contributes to Fortune and CNBC. While reporting on Hulu's upcoming series The Looming Tower ("Exposing a Wound That's Still Raw"), ANN FARMER watched Craig Zisk direct a scene in which everyone had to act as though it was pre-9/11 and they were taking in the awesome sunset views of the World Trade Center towers. What they were really looking at was an empty space in the skyline. It was a poignant moment for this New Yorker. Ann writes for Emmy magazine and The New York Times. ROB FELD ("The Magnificence of Douglas Sirk's Obsession") says one of his favorite aspects of the Screening Room series "is experi- encing a film through somebody else's eyes." He adds that he "never would have guessed Errol (Morris) would have chosen a film like The CONTRIBUTORS San Francisco isn't just a city. It's a genre. Filming in San Francisco gives you more character for your budget –with up to a $600,000 rebate for productions. filmsf.org 415-554-6241