Robert Fischer

Will He Live or Will He Die: Walter Hill on Southern Comfort

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The Fury: A Location Journal

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Spinning Tales: Fiona Lewis on Brian De Palma's 'The Fury'

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Expedition Amazonia

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Good Times: Dominik Graf on Directing the Cat

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Jenseits von Gut und Böse: Christoph Fromm über 'Die Katze'

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Alles auf eine Karte: Georg Feil über 'Die Katze'

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Cinema Redefined: Jacques Rivette's L'Amour Fou Revisited

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Jack Arnold Remembers The Incredible Shrinking Man

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Ganz Berlin lacht sich kaputt: Wie die 'Berliner Ballade' entstand

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The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter

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Core of Reality: Robert Blees on Douglas Sirk’s Magnificent Obsession

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Illusion of Freedom: Richard H. Kline on John Frankenheimer's Birdman of Alcatraz

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Painting with Light: Nicholas von Sternberg on Josef von Sternberg

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Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias

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Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'

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Life As It Is: Miloš Forman on Miloš Forman

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A Search For Truth: Robert C. Jones On Hal Ashby’s 'The Last Detail'

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Program Notes: An Introduction To The Last Detail By Alexander Payne

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Sucker Punch Blues: A Look Back on John Huston's 'Fat City'

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G.W. Pabst's 'Kameradschaft': An Introduction by Jan-Christopher Horak

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G.W. Pabst's 'Westfront 1918': An Introduction by Jan-Christopher Horak

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The Beast Inside: Creating 'Wolf'

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About a Trip: Alexander Payne on Hal Ashby's 'The Last Detail'

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Cop Stories: The Making of Richard Fleischer’s ‘The New Centurions’

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Pure Cinema: Joe Napolitano on Brian De Palma's Body Double

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Traveling Roadshow

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The Mysteries of Paris: Jacques Rivette's Out 1 Revisited

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Outer Movement, Inner Movement

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Last of the Independents: Don Siegel and the Making of 'Charley Varrick'

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The Poet and the Filmmaker: Volker Schlöndorff on Baal

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Love Letters

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Return to Beethoven Street: Sam Fuller in Germany

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Touching Death: Alejandro Amenábar on 'Tesis'

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Perspectives on Othello: Joseph McBride on Orson Welles

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Swan Song: The Story of Billy Wilder's Fedora

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Real Killer, Fake Nose: Richard Fleischer's 'The Boston Strangler' Remembered

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Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'

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Rumble on the Lot: Walter Hill's Streets of Fire Revisited

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Return to Philadelphia: George Litto on 'Blow Out'

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Black and White in Color: Vilmos Zsigmond on 'Blow Out'

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Rag Doll Memories: Nancy Allen on 'Blow Out'

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A Winter's War: Keith Gordon on 'A Midnight Clear'

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Ted Kotcheff's Gourmet Cinema

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The Cinema and its Double: Rainer Werner Fassbinder's 'Despair' Revisited

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Starting Out: The Making of Jerzy Skolimowski's Deep End

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Before Taking Off: Milos Forman’s Road to America

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'Deep End': Remembering the Deleted Scenes

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Of Love and Constraints

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Erinnerungen an 'Väter und Söhne'

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Making an American Movie

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Beyond Melodrama: Kathryn Bigelow on Douglas Sirk

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A Tribute to Douglas Sirk by Allison Anders

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Acting for Douglas Sirk

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Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"

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Contract Kid: William Reynolds on Douglas Sirk

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Requiem for a Killer: The Making of 'Blast of Silence'

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Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood

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Eine Zärtlichkeit wie bei Sirk - Todd Haynes über Fassbinder und das Melodram

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Dalton Trumbo: Rebel in Hollywood

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A Cinema of Signs: Claude Chabrol on Alfred Hitchcock

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The Making of Highlander

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Maternal Overdrive

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Fassbinder in Hollywood

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Monsieur Truffaut Meets Mr. Hitchcock

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