Animated as ever when it comes to the topic of film, director Martin Scorsese delivers the 2013 Jefferson Lecture in the Humanities at the Kennedy Center on April 1.
Credit NIcholas Kamm / AFP/Getty Images
<em>The Magic Box</em> (1951) made a lasting impression on Martin Scorsese when he first saw it in 1952. He says this is the film that made him think he could be a filmmaker. "The thing about that film was not just the moving image, but it was the obsession and the passion of the people at that time."
Credit Studiocanal Films Ltd.
In 1878, landscape photographer Eadweard Muybridge set up a series of still cameras side by side at a racetrack, rigging them to be triggered by threads stretched across the course as the horse passed. Considered an intermediate stage in cinematography, Muybridge's photographic experiment captured the kinetic movement of a horse at full gallop.
Credit Eadweard Muybridge / Public Domain
D.W. Griffith's <em>The Musketeers of Pig Alley</em> (1912) is thought to be the first gangster film.
Credit Public Domain
Edwin S. Porter's<strong> </strong><em>The Great Train Robbery</em> (1903) is a 12-minute film that employs one of the first known uses of the cinematic "cut."
Martin Scorsese is a legend of a director — and he's also a great film teacher, a man who balances a passion for the medium with a deep knowledge of its history. Delivering this year's installment of the National Endowment for the Humanities' prestigious Jefferson Lecture — a talk he titled "Persistence of Vision: Reading the Language of Cinema" — Scorsese demonstrated his speaking chops as well.
From a young age, Laura Linney knew what she wanted to do with her life: act. There was no question.
She was a drama nerd in high school, and went onto Juilliard to study theater. But film acting was never the dream, and movie stardom definitely wasn't the goal.
"I was always completely intimidated by film," she tells Fresh Air's Dave Davies. "I was not the sort of person who grew up thinking, 'Oh, I want to be in the movies.' I loved movies; I just didn't think I particularly belonged there."
Gail Godwin says one of the inspirations for her new novel, called Flora, is Henry James' ghost story The Turn of the Screw. Both stories take place in isolated old houses, and both revolve around mental contests between a governess character and her young charge. There are ghosts in Flora, too: specters that arise out of what our narrator calls her "remorse." Godwin had me at that word, "remorse": It's such a great, old-fashioned word, and it suggests that there'll be a lot of awful things going on in this novel that will need to be atoned for.
"Pink Champagne," a song on Caitlin Rose's second album The Stand-In, presents Rose's voice in its sparest purity and veiled shrewdness. She sends her voice skyward, the notes as buoyant and light as the bubbles of the pink champagne she's singing about. Her high trills could, with only a slight shift in tone and attitude, become self-conscious with a Betty Boop coyness, as they do once or twice on The Stand-In. But most of the time, Rose keeps her music grounded in the details of yearning, heartache and a welcome sense of gratefulness and enthused energy.
Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week: