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I tell students often that the hardest part of being a filmmaker is getting the job. Once you get the job you just do what you have been training to do and the work should be easy. But that’s not

There is something really comforting in that old stand by, the classic film. It’s that film you have seen a half dozen times at least, or you flip on the TV and there it is and you sit down and

Julie and Gibson, my downstairs neighbors, are moving this weekend. (Thanks for the bottle of wine, it was- notice the past tense- a Coppola; they know what the dumb filmmaker likes.) On Saturday we were at our block party and

I often wonder where good ideas come from. I have lots of ideas, many good, many overlooked, and many not so good ones. I have always liked Michael Keaton’s character in Night Shift who was forever coming up with half

Close readers (and viewers of the Danny Boyle interview) of this page will have noticed some changes of late. Gone from the about me section is a reference to Columbia College in Chicago and in its place is a description

Here is my interview with Danny Boyle. Some side notes: I had 10 minutes with him. I was sandwiched between the ABC reporter and the CBS reporter. His microphone fell off during my intro so I did it a second

A dynamic sound track is critical to making a successful film. I argue that good sound design is perhaps more important than good looking pictures. If you have ever seen a film that is “thin” when it comes to sound,

I had several good comments and questions on my “more collaboration” post about filtering out those bad suggestions cast or crew members might have. I am going to try to answer that issue here. As I indicated earlier, I like