Masters of Cinema Booklets

Masters of Cinema is a label within Eureka Entertainment, which distributes Blu-Rays and DVDs of canonical, cult, and other critically acclaimed films in the best transfer and presentation possible. I have served as a booklet editor on certain releases since 2013. My work involves commissioning and editing the key essay, sourcing original archival material, and gathering rights/permissions for reprinting. Below is information on each release I worked on, and what materials were included in the booklet.

51P00v9ni3L._AC_UL320_SR248,320_That Cold Day In The Park (Robert Altman, Commonwealth United Entertainment, 1969) — June 2016
—Original essay by Alex Heller-Nicholas, editor of Senses of Cinema
—An excerpt from scholar David Spaner’s Dreaming in the Rain on the Production Cultures in Vancouver.
—An original draft of an article “Directing Sandy Dennis” by director Robert Altman
—A Motion Picture Herald article profiling the production.

71asQt6-YAL._SX385_The Quiet Man (John Ford, Republic Pictures, 1952) — November 2015
—Original Essay by Sheila O’Malley.
—A 1955 profile on director John Ford in The Catholic Digest
A 1953 profile on John Wayne in Look Magazine
A 1982 essay on Technicolor cinematographer Winton Hoch by scholar John Gallagher.
—The 1933 original short story by Maurice Walsh

shane-artworkShane (George Stevens, Paramount Pictures, 1953) — November 2015
—A 1953 essay by Penelope Huston, editor of Sight & Sound.
—A 1969 transcript from an unpublished George Stevens interview by Brazillian Film Cultura critic Edward Escorel.
—A 1951 unpublished correspondence by writer Ivan Moffit to George Stevens on an alternative prologue to the film.
—An essay by Reverse Shot critic Adam Nayman on the history of widescreen in the film’s release.

Too-Late-Blues-Masters-of-CinemaToo Late Blues (John Cassavetes, MGM, 1961) — July 2014
—An Original Essay by David Sterritt, chair of the National Society of Film Critics and author of The Beats: A Very Short Introduction.
—A 1961 profile of John Cassavetes, as originally appeared in Film Quarterly.
—An excerpt from composer David Raskin’s autobiography
—A 2007 interview with actress Stella Stevens by Dean Brierly

357652_blu_bBoomerang! (Elia Kazan, MGM, 1947) — June 2014
—An original essay by Glenn Kenny, author of Anatomy of an Actor: Robert De Niro
A 1972 interview with Elia Kazan, as originally appeared in Movie.
—”A Perfect Case,” the original short story by Anthony Abbot, as appeared in the December 1945 issue of The Rotarian. 

Wings packshot MOCWings (William Wellman, Paramount, 1927) — April 2014
Text and image essay by gina telaroli, editor of a dossier on William Wellman
—”Wild Bill,” a reprint of a 1978 interview with director William A. Wellman by Scott Eyman
—”A Short Time for Insanity,” an excerpt from Wellman’s 1974 autobiography.
Not Included: “Half Way to Heaven,” a 1930 article published in The New Movie Magazine profiling the stuntmen of Wings and other aerial combat films.

serpico bluray small-thumb-300xauto-43919Serpico (Sidney Lumet, Warner Bros., 1973) — April 2014
Essay by Karina Longworth, author of Anatomy of an Actor: Al Pacino
“The Filming of Serpico,” an interview with director of photography Arthur Ornitz by Win Sharples Jr., originally published in Filmmaker Newsletter in 1974.
—”Method Man,” an interview with Al Pacino by Lawrence Grobel, originally published in Playboy Magazine in 1979.

82424_frontRed River (Howard Hawks, United Artists, 1948) — October 2013
—”How Movies Became Cinema,” a transcript of a 1978 lecture by Andrew Sarris on discovering Howard Hawks through Cahiers Du Cinema
“A Howard Hawks Western,” an excerpt from Susan Liandrat-Guigues’s BFI Monograph on Red River (2000).
—An excerpt from a 1991 interview with editor Christian Nyby by Ric Gentry, originally published in Post Script.
—An interview with original short story and screenwriter Borden Chase by Jim Kitses, originally published in Film Comment in 1970 (with an excerpt from a 1974 interview with Hawks denying Chase’s claims)
—”The Two Versions,” a new essay by Peter Labuza explaining the history and criticism of the two versions of Red River.