Nick Newman

Nick Newman has been a member of Linktree for 4 years and joined in June 2022. Resources nick_newman has populated their site with include: • Lilly Wachowski Looks Back at 'Bound' 30 Years Later • The Film Stage Presents Bertrand Bonello’s House of Tolerance at the Roxy Cinema on March 16 & 17 • “I’ve Got No Idea How That Works”: Mark Jenkin on Rose of Nevada • New York Review Books & Nick Newman Present a Rare Screening of Legitimate Violence at BAM on November 1 • “Everything Is By Chance”: Tony Leung on Silent Friend, Léa Seydoux, and Ryûsuke Hamaguchi • Nick Newman and the Brooklyn Center for Theatre Research Present Amnesiascope, a New Screening Series, on April 12 • Nicolas Winding Refn on 'Pusher' Rerelease — Interview • Amnesiascope Presents a Rare Jean-Luc Godard Film at the Brooklyn Center for Theatre Research on May 28 • “Making Movies Should Be a Pleasure”: Olivier Assayas on The Wizard of the Kremlin • “You Can’t Recreate a Reality”: Sophy Romvari on Blue Heron • “I’m Definitely Not Trying to Be Consistent”: Kiyoshi Kurosawa on Serpent’s Path, Chime, and Kokurojo • Sofia Coppola and Marc Jacobs on Their New Documentary • “The Movie Is More Intelligent Than I”: Christian Petzold on Miroirs No. 3 • Werner Herzog on Dreams, Defeats, Ghost Elephants, and Why He’s Not a Workaholic • “You’re Leaning Into the Ugliness”: Michael Bauman on Shooting One Battle After Another for Paul Thomas Anderson • “I’m Not Seeing America Doing the Best Films”: Rodrigo Teixeira on Supporting Brian De Palma, James Gray, and Contemporary World Cinema • “That Cut Is Stanley’s Cut”: Nigel Galt on Editing Eyes Wide Shut with Kubrick • “There’s Always a Revolution”: Richard Linklater on Nouvelle Vague • “We Should Narrate Exactly What We See”: Jafar Panahi on It Was Just an Accident • 'Death Stranding 2' Hideo Kojima Interview on Sequel's Big Changes • Peter Deming on a Life with David Lynch Through Lost Highway, Mulholland Dr., Twin Peaks, and Unrecorded Night • You’re a Lifelong U2 Fan and Only Have Eight Minutes to Interview Bono — What Do You Ask? • “All Grief is Unique”: David Cronenberg on The Shrouds, Life Beyond Story, and Making iPhones Cinematic • Inside the Based Mind of Harmony Korine • Jia Zhangke on Criterion Releases, Creating a Perfect Movie Theater, and His Filmmaking Lineage • Errol Morris Talks ‘Chaos: The Manson Murders,’ Meeting Manson, and Never Bringing a List of Questions • Mike Leigh on Hard Truths, Losing Dick Pope, and the Duty of an Artist • Leos Carax on ‘It’s Not Me,’ Reclaiming Bowie’s ‘Modern Love,’ and the ‘Worst Failure’ of ‘Pola X’: ‘I Would Like to Be a Dictator’ of Images • Rust Didn’t Choose to Echo Its Tragedy, But It Courses Through the Film • The Brutalist Cinematographer Lol Crawley on VistaVision, the 70mm Experience, and Brady Corbet’s Flexibility • “A Good Cinematographer is Like an Alchemist”: Jarin Blaschke on Nosferatu and Lighting Darkness • “Look at the Cinema”: Nickel Boys Cinematographer Jomo Fray on First-Person Filmmaking and the Opulence of Mundanity • “It’s All Marketing”: Ed Lachman on HDR, Maria, and Lifetime Achievement Awards • Rodrigo Prieto on His Directorial Debut, Martin Scorsese’s Snubs, and Taylor Swift’s Feature Debut • “Less Money, More Liberty”: Paulo Branco on a Cinematic Life with David Cronenberg, Manoel De Oliveira, and Raúl Ruiz • Kiyoshi Kurosawa on His Major Year of Cloud, Chime, and Serpent’s Path • “Shut Up, Shut Up, Listen”: Julia Loktev on My Undesirable Friends: Part I — Last Air in Moscow • “I Hate Her”: Zia Anger on the Thorny Self-Portrait My First Film • Jason Schwartzman Is the American Jean-Pierre Léaud: The Actor on ‘Between the Temples,’ ‘Queer,’ and the Coppola Dynasty • Carol Kane: ’I feel very old and very young at the same time.‘ • C. Mason Wells on the Complex Creation of Between the Temples • For M. Night Shyamalan, ‘Trap’ Might Be His ‘A Man Escaped’ • Richard Linklater on Sex, Murder, Hit Man, and the Infantilization of Culture • Paul Schrader on ‘Oh, Canada,’ Tarantino’s ‘The Movie Critic,’ and the ‘Worst F**king Idea’ of a ‘Taxi Driver’ Sequel • “I’m Not an Actor”: Léa Seydoux on Her Creative Self and False Public Perception • “Films Can’t Fix Lives”: Arnaud Desplechin on Filmlovers!, The Fabelmans, and Jean-Luc Godard • Eiko Ishibashi on Creating Gift and Evil Does Not Exist with Ryusuke Hamaguchi • “All Great DPs Become Alcoholics”: Rob Tregenza on Shooting Béla Tarr’s Werckmeister Harmonies • Obsess You Like a Ghost: Bertrand Bonello on His Years-Long Path Towards The Beast • Desire Can Be Possible: Bertrand Bonello on His Origins • Louis Garrel on The Innocent, Making the Audience Happy, and How to Be a Good Cinephile • Mia Hansen-Løve on the Quest to Understand Life Through Filmmaking • Non-Fiction: Olivier Assayas Discusses the Professional and Private Dimensions of Irma Vep • Claire Denis on Both Sides of the Blade, Autofiction, and FaceTime • Becoming the Beast: George MacKay on Fighting for Bertrand Bonello’s Film, Learning French, and Modern Incel Culture • Michael Almereyda in the Real World - Journal - Metrograph • “I’m Made to Tell Stories”: Anthony Dod Mantle on Lars von Trier, Danny Boyle, and a Cinematographer’s Life • Pedro Costa on Needing Your Desire and the Stevie Wonder-Like Vision Fueling The Daughters of Fire • Łukasz Żal on the Unprecedented Process of Shooting Jonathan Glazer’s The Zone of Interest • Lighting the Unreal: Robbie Ryan on the Mad World of Yorgos Lanthimos’ Poor Things • Matthew Modine Reflects on Abel Ferrara, Stanley Kubrick, Renny Harlin, Alan Rudolph, and His Feature-Directing Debut • Rodrigo Prieto on Martin Scorsese’s Method and Formatting Killers of the Flower Moon and Barbie for IMAX • Christopher Blauvelt on May December, Formatting for Netflix and 35mm, and Life Lessons from Harris Savides • Alden Ehrenreich on His Directing Debut, Francis Ford Coppola’s Wisdom, and a Filmmaking Ethos • “I Don’t Think Directors Should Be Amenable”: Erik Messerschmidt on Shooting The Killer and David Fincher’s Simple Process • Terence Davies on Bringing Poetry to Life, Directing His New Short, and Planning His Next Feature • Richard Kelly on Creative Heartbreak, Political Cinema, and Future Projects • Steven Soderbergh deconstructs back-to-back experiments: Full Circle and Command Z • Strange What Love Does: David Lynch on Remastering INLAND EMPIRE • Life Is Suffering: David Cronenberg on Kidney Stones, NFTs, and Crimes of the Future • The B-Side – In Conversation with Dustin Guy Defa • Paula Beer on Searching for Truth with Christian Petzold and the Loneliness of Acting • Profile: Meghan Remy On New U.S. Girls Album - Sharp Magazine • Rob Tregenza on Adventures in Cinema with Jean-Luc Godard, Filmmaking Technology, and His MoMA Retrospective • Movies Are More Real Than Reality: Will Menaker’s Favorite Films of 2022 • Stuart A. Staples on Stars at Noon, Claire Denis, and the Future of Tindersticks • Lena Dunham on Surprising Herself with Sharp Stick and the Legacy of Girls • Tony Kushner on The Fabelmans, His Friendship with Steven Spielberg, and Casting David Lynch • Walter Murch on Cinema as a Tool for Human Connection • White Noise Cinematographer Lol Crawley on Noah Baumbach’s New Direction and Working with Bob Dylan • TÁR Cinematographer Florian Hoffmeister on Striving for Originality and Todd Field’s Acute Visuality • Cinematographer Erik Messerschmidt on Shooting David Fincher’s The Killer and Michael Mann’s Ferrari