May 26, 2019

Reconstructed and Launched


Staying with my theme of birds and their nests, this photo, taken at the Jamaica Wildlife Sanctuary in Queens, New York, is of osprey fledglings preparing for flight, and represents my launch of the reconstructed website. 

The new version of l'Ultima Parola is complete.

I have added new items to "Selected Film Reviews," including my most recent review for the Los Angeles Times. A new section called "In the News" appears to the right of this column; it will change frequently to include reviews of films or filmmaker interviews that are suddenly topical. I have begun with Jean-Pierre and Luc Dardenne who just won the "Best Director" prize at Cannes. I have interviewed the Belgian filmmakers several times, but this is my most recent interview with them for The Unknown Girl (2017). I will also be adding my interview with Laura Poitras for "Risk," her documentary about Julian Assange, the Wikileaks founder the U.S. seeks to extradite on charges of publishing classified materials.

As for the restoration of links by BoxOffice for the writing of dozens of freelancers, formerly of Film Journal International, that's still in limbo. In the meantime, I hope readers of this compendium website will enjoy browsing the new categories.

May 15, 2019

Just Added: "Some of My Favorite Interviews"

Mountain Bluebirds were occasional visitors to my hogan when I lived in Tsaile, Arizona.

When I started reconstructing this website a few weeks ago, I also began organizing my tear sheet files. Tear sheets were the way magazine and newspaper writers preserved their work before the Internet. If you recall, I had to reconstruct this compendium site because Box Office bought Film Journal International last year and then removed FJI’s content from their website in March. That left dozens of freelancers, many of us contributing writers to FJI, reeling; our websites were built on those links, as were our Rotten Tomatoes and Metacritic profiles. After the sale of FJI, I began creating PDFs of my articles from the website; I have over 500 reviews and interviews, but because of the faulty search function on that website, I am not sure that represents all of my work for FJI over the past 23 years.

The hours I spent rifling through tear sheets led to me to create file folders by date, separating feature articles and interviews from film reviews, the latter of which I’m still sorting. I discovered my travel, and food pieces, too. I am not in the least bit nostalgic, but during this dusty task, I could not help reflecting on the many remarkable artists I have had the privilege of interviewing. That led me to create new categories for this website, among them “Some of my Favorite Interviews.” This list may change over the course of a year as I can’t list all of them. I hope the older articles will lead readers of this post back to movies they have not seen in years, or have never seen at all.

Yesterday, I came across an interview from the fall of 1998 when I heard that Irwin Winkler would be shooting on-location in Greenwich Village. I called his Hollywood office to ask if I could get an interview. My magazine editor said it would be a waste of time; another writer had asked, and gotten a “no.” It was never easy to get on-location interviews. In the course of my telephone pitch, Winkler’s assistant asked if I had ever been on-location. “No,” I said, “except when I was a film student.” She called me back an hour later to say that Winkler would allow me on the set. I was to get there in the morning and hope that the crane shot went well. Then I could get my 45 minutes with Winkler.

When I got to the West 4th Street location, I recognized John Seale, the Oscar-winning cinematographer. He was standing on the curb at the border of Washington Square Park, holding up a light meter. I introduced myself, and took advantage of the few minutes I had with him as he walked me over to Winkler. I asked him to define great cinematography. “It fits the story,” he said, and then smiled. “The story” is a trope in Hollywood. Production designers, composers and editors had given me the same answer when I asked them about their craft. Seale knew that and he added: “It has to be seamless. This is my first time with Irwin, and he understands that.”

Winkler was seated in front of his monitor when we reached him. He looked up and said: “We’re losing the light, Johnny.” Apparently, the crane shot had not been completed. The iconic Hollywood producer and director motioned for me to sit in a canvas chair; on the back of it was a sign in neat lettering, “Visitor.” It meant anyone who wanted to speak to Winkler now whispered in his ear. “Almost 4 hours,” he said to me, pointing at the cranes, “and it will be about 10 seconds of screen time. We only have the permit for today.” I knew at that point that I would be there more than 45 minutes.

May 5, 2019

Reconstruction Underway


Slowly escaping the nest . . .
Making progress . . . links are working in new categories that include "About the Craft of Filmmaking," "Italia," Italian film and filmmakers, "Recent Features," "Selected Film Reviews," and "Women Filmmakers and Women's (and Girls') Stories." Upcoming categories are "Food, Wine, Travel" that will include samples of my articles on these subjects, many of which include my photography, and "7 Years of Human Rights Watch Film Festival," reports on the festival itself, that often include filmmaker interviews.

May 2, 2019

Spring Reconstruction

After the loss of links to much of my work on the web (see previous post), I have decided to reconstruct my website. In the meantime, please bear with me as I try to rebuild . . .

At the Jamaica Wildlife Sanctuary in Queens, New York, last summer.

Apr 17, 2019

Yikes! The Links Don't Work!

I was a contributing writer at this magazine for the last 25 years.


In December, it was bought by Box Office magazine. For the last few months, links to my work (and that of dozens of others freelancers) remained on that magazine's website under "Film Journal International."

Now, they are all gone. That means many of the links on this page will not work . . . until I am able to reconfigure this website by uploading PDFs to Google Docs or to Dropbox. I will do so gradually.

In the meantime, if you are an editor or publisher or researcher and wish to have a copy of any of the film reviews or features that appear on the page, and that have a non-working link, please e-mail me at mariagarciawrites@earthlink.net.

Thank you for your patience.

Mar 16, 2019

My First Review for New Outlet

Japanese artist Rokudenashiko, one of three activists profiled in a new documentary.
Spring marks new beginnings . . . this March, I have begun freelancing for a new outlet, the Los Angeles Times. Here is my first capsule review for the paper. It is for Barbara Miller's #Female Pleasure, a documentary that opened this week: https://www.latimes.com/entertainment/movies/la-et-mn-capsule-documentary-review-string-20190313-story.html