John Steppling

“Well, I think I realized at the film school how important it is to provide a dialogue and a context for great filmmakers. It’s difficult to just drop someone into Lancelot du Lac and expect them to understand intuitively what Bresson was all about, what the project was for him and (since we are using Lancelot as an example) how a later Bresson exists in rather rarified air. Same for Dreyer say, or Fassbinder or Ozu, but also for John Ford or Hawks or Hitchcock. We live in a time where critics are mostly just consumer advocates and they review – they don’t write criticism.”