The Art of the Score: Steven Soderbergh’s ‘Logan Lucky’
The Art of the Score #3: Blake Howard on Steven Soderbergh’s ‘Logan Lucky’
Active Vague Visages Film Columns
The Art of the Score #3: Blake Howard on Steven Soderbergh’s ‘Logan Lucky’
Nicole Rodenburg Interview: A conversation about movie collecting with Vague Visages contributor Greg Carlson.
The Art of the Score #2: Blake Howard on Spike Lee’s ‘Inside Man’
“Roger Ebert once wrote ‘it’s not what a film is about, it’s how it is about it,’ and it’s this phrase that I usually return to when thinking about cinema that deals with humanity’s worst impulses.”
Greg Carlson Interviews Filmmaker Toby Jones About Movie Collecting
“Many of us may miss the drama of awards season, but there are untold benefits to criticism if it continues to evolve away from its current state.”
Greg Carlson Interviews Director Dava Whisenant About Movie Collecting
Greg Carlson Interviews Fargo Native Tucker Lucas About Movie Collecting
“The total dominance of our digital cinema platforms has forced cinephiles to reckon with their own assumptions and understanding of the medium.”
Greg Carlson Interviews Film Archivist Alicia Coombs
Greg Carlson Interviews Rob Dunkelberger About Collecting Movies
Greg Carlson Interviews ‘Broken Bird’ Flmmaker Rachel Harrison Gordon
Greg Carlson Interviews ‘Ask for Jane’ Director Rachel Carey About Movie Collecting
“If the cinema was responsible for so many happy childhood memories, how could I continue to embrace reminiscing when it was equally responsible for the soul-crushing tedium of a public-facing retail job?”
Greg Carlson Interviews ‘Black Sunday’ Author Matt Dreiling About Movie Collecting
“Film criticism is so vital not because it’s a service, but because it’s a tool — a way for each person to arrive at the final word on each film they see from the critic that matters most: themselves.”
Greg Carlson Interviews Mallory O’Meara (‘The Lady from the Black Lagoon’) About Movie Collecting
“Film criticism unable to confront film’s relationship to business is destined to fail and will continue to reproduce the same tired critiques of cinema.”
“Arts Picturehouse Cambridge unearthed the feisty, passionate person that I am today, and made me want to help change the cinematic landscape for the better.”
“More than ever, it is crucial to contemplate what this nostalgia phenomenon means for the future of the arts and our discomfort with the new. Will there be a ‘new’ in the new world?”