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peterbogdanovich Peter Bogdanovich
Blogdanovich is the blog of director, producer, writer, actor, film critic, and author Peter Bogdanovich. He has directed over 25 feature films including international award winners The Last Picture Show, What’s Up, Doc?, Paper Moon, Daisy Miller, Saint Jack, Mask; cult favorites Targets, Texasville, Noises Off, They All Laughed, and A The Thing Called Love, among stars he’s introduced: Cybill Shepherd, Tatum O’Neal, Madeline Kahn, John Ritter, Sandra Bullock; has directed stars Audrey Hepburn, Barbra Streisand, Michael Caine, Cher; best-sellers Who the Devil Made It: Who the Hell's In It, The Killing of the Unicorn; standard texts John Ford, This is Orson Welles; and was a recurring guest-star on the popular HBO series The Sopranos.

Peter Bogdanovich

ROGER EBERT: THE CRITIC WHO LOVED MOVIES

  • By Peter Bogdanovich
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  • April 6, 2013 10:01 AM
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  • 3 Comments
Most critics make their reputation by writing scathing and very amusing reviews. Not Roger Ebert. He made "thumbs up" his signature, and wrote his best pieces about films he liked or adored. It's much easier to write a negative notice, but it takes real skill to write engrossingly about something you value. Roger made a career out of that. He definitely accentuated the positive. And brought a lot of people to good movies.

THE LAST COWBOY: HARRY CAREY, JR.

  • By Peter Bogdanovich
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  • January 13, 2013 3:33 PM
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  • 5 Comments
This short tribute was written for the programme for the Harry Carey, Jr. Memorial, held Saturday, January 12th,  in Santa Barbara, California.

GORE VIDAL REMEMBERED

  • By Peter Bogdanovich
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  • August 28, 2012 12:05 AM
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  • 5 Comments
Last week, down on New York’s Broadway, there was a memorial for one of our great American artists, Gore Vidal, who was a friend, and I was invited to attend, but could not, because of previous commitments that took me elsewhere. I offered to write something that could be read. As it turned out, Cybill Shepherd, who had met Gore with me, asked if she could read it, and did, I’m sure beautifully. Here’s what I wrote (with a few small additions):

The John Ford File: Part 5

  • By Peter Bogdanovich
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  • August 20, 2012 12:23 AM
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  • 7 Comments
T H E   J O H N   F O R D   F I L E (P A R T  5)

The Sight and Sound Poll

  • By Peter Bogdanovich
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  • August 10, 2012 7:23 AM
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  • 41 Comments
No, this is not possible. All these films and so many more should be seen by every civilized person on earth, and the whole rating idea is anti-artistic, anti-film culture, just absurdly reductive.

The John Ford File: Part 4

  • By Peter Bogdanovich
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  • July 24, 2012 12:55 PM
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  • 7 Comments
T H E   J O H N   F O R D   F I L E (P A R T  4)

The John Ford File: Part 3

  • By Peter Bogdanovich
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  • July 18, 2012 6:01 PM
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  • 4 Comments
T H E   J O H N   F O R D   F I L E (P A R T  3)

The John Ford File: Part 2

  • By Peter Bogdanovich
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  • July 3, 2012 2:01 PM
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  • 1 Comment
T H E   J O H N   F O R D   F I L E (P A R T  2)

The John Ford File: Part 1

  • By Peter Bogdanovich
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  • June 24, 2012 7:32 PM
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  • 15 Comments

The Sopranos

  • By Peter Bogdanovich
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  • October 20, 2011 4:24 AM
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  • 8 Comments
About ten years ago, I was talking with critic Matt Zoller Seitz, and he said that one of the things he thought which made the HBO series THE SOPRANOS (all six seasons available on DVD) such an exceptional show was the makers’ willingness to let certain scenes play in continuous action, without a cut, allowing audiences simply to observe the actors minus any manipulation via editing or noticeable camera pyrotechnics. (Full disclosure: I had a recurring role on the show starting with the second season, playing Dr. Melfi’s—-Lorraine Bracco’s---shrink, Dr. Eliot Kupferberg. I also directed an episode for season five.) Matt’s underlying point was that this way of working hardly exists any longer in features, and its unfortunate lack has a lot to do with the off-putting nature of so much current mainstream product, most of it cut like music videos or commercials, no shot allowed to last more than a few seconds at most.

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