Despite having resisted the siren call of Hollywood, Annie Atkins has made quite a name for herself in the hermetically sealed world of cinema. As a graphics and prop designer, most notably for Wes Anderson in The Grand Budapest Hotel and Isle of Dogs (she also worked on the coming The French Dispatch), Dublin-born Atkins has elevated an oft-neglected craft into the realm of art.
Interviews with crucial film-world figures
January 29 The Metrograph Interview: Paul Schrader
"I’ve only got five or six years left. I don’t want to spend that five or six years making compromises. Maybe I’ll make a handful of little edgy films, and I’ll make them for next to nothing. That seems to me much better than doing some high-price piece of junk."
January 15 The Metrograph Interview: Hal Hartley
"Sometimes when someone, particularly a young person, who's working hard and has certain talent, is simply trying to tell the truth, something happens. It's what journalists generally would call a distinctive voice."
December 23 The Metrograph Interview: Josh and Benny Safdie
"We felt foolish if we ever tried to impose plot from on high. It's like how I felt listening to produced music felt foolish. I only wanted to listen to music that had a tape hiss because I felt that at some level that that meant that it was more honest."
December 5 The Metrograph Interview: Peter Strickland
"I always want my films to have a connection to real life. I never wanted to snap that cord. I want to stretch it as far as possible."
November 22 The Metrograph Interview: Atlantics' Mati Diop
"I needed to find a new architecture, so all the living elements could talk to each other, and the rhythm was so extremely delicate to find. I ask myself: How do you shift from reality to another dimension?"
November 19 Lions and Cannibals: An Interview with Susan Sontag and Agnès Varda
In 1969, during the 7th Annual New York Film Festival, two film directors with movies in the Official Selection entered a New York public TV studio to discuss their work.
November 15 The Metrograph Interview: Todd Haynes
"Maybe what people connect, in all my work, is that there's an emotional component that cracks through—even though the most austere intellectual experiments in narrative form. I think people found themselves surprised by their emotional connection to them, given the sort of ways I might obstruct easy access to character."
October 23 The Metrograph Oral History: Downtown 81
We brought together some of the film’s surviving talent to figure out, for the first time, how the project fell apart and came back together, and why it stands the test of time.
October 10 Roundtable: Blake Edwards
Movies by Blake Edwards command the attention of a devoted following, and we asked three of our favorite critics to discuss Metrograph’s upcoming retrospective, which was programmed by Julie Andrews herself.