Word: writer-director
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...course, this issue stems from a much larger one about the racial composition of the Faculty as a whole. As this column goes to print, the College has already announced one new set of non-minority Masters: Professor Robert P. Kirshner ’70 and his wife, writer-director Jayne Loader. As we await the names of the new Dunster House Masters, we can only hope that the only existing minority House Masters, Karel and Hetty Liem, are replaced by another couple that reflects the diversity of the undergraduate student body...
Kirshner, the astronomy professor who teaches the popular Core course Science A-35, “Matter in the Universe,” was selected to succeed current Quincy House Master Michael Shinagel. Kirshner’s wife, writer-director Jayne Loader, will serve as co-master...
...unusual to talk about someone who makes TV movies as having themes, a voice, an oeuvre. Scratch that: it's unusual to talk about someone who makes TV movies, period. Yet within this undersung field, writer-director Jane Anderson has wrought a body of wry and poignant work about women and power. Her 1993 The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom for HBO won her a writing Emmy and helped define a kind of off-kilter, fact-based drama that has become a pay-cable staple. Showtime's 1998 The Baby Dance, about the class tension...
...sexes tennis match between Billie Jean King and Bobby Riggs. Except, she says, "I didn't know a thing about tennis." (She did, however, have access to King, whom she'd known through mutual friends for years. And for insurance, she took tennis lessons. "I consider myself a Method writer-director," she jokes.) But When Billie Beat Bobby (ABC, April 16, 9 p.m. E.T.) isn't really a tennis movie, just as the King-Riggs face-off wasn't memorable as tennis (she creamed him, in straight sets). When more than 40 million watched the lobbin' libber play the fast...
...this guy cool, or what? A hotter approach to filmmaking comes from John Herzfeld, writer-director of 15 Minutes, which takes its title from Andy Warhol's famous formulation about fame in the age of television. Like Minahan, Herzfeld has worked at TV's scuzzier levels (he once made a docudrama about Joey Buttafuoco), and his project was passed around even longer (eight years) before getting a green light. But unlike Minahan, who finds celebrity and greed "not very interesting," he's "fascinated by our culture's most volatile obsessions--celebrity, violence and wealth." His brutal but very well-made...