This is our first podcast in the Conversations series.

In a series within the series we are going to explore great films in conversations with Henry Griffin and Jonathan Freilich.

Henry is a scriptwriter, script doctor and professor of film at UNO. I used to think I was a movie fan, but when I listen to Henry, I find out that I have a long way to go before I can even call myself a proper member of the audience.

Jonathan is a multi-faceted musician and composer, founder and leader of several signature bands, including The Naked Orchestra and The New Orleans Klezmer Allstars. Besides more than 25 years experience with great New Orleans musicians, he picked up a degree in composition from CalArts, has worked in sound design for media and even taught it at NOCCA.

The movies we will be discussing are truly international and eclectic. Some will be arthouse or familiar American, French or Italian great films. Others will be works combining great art and great entertainment from Japan, China, India – anywhere you can find great directors and great movies, and that is almost everywhere.

Some of these movies will never have made it to theaters in New Orleans, but now there are great resources available for recent and classic movies in Amazon, Netflix, sometimes YouTube and especially Filmstruck. If you don’t know Filmstruck, check it out.

We hope you enjoy the conversation and The Conversations.


Tetro is a film by Francis Ford Coppola released in 2009. Unlike The Godfather or Apocalypse Now!, Tetro was written, produced, directed, nursemaided and guided into being by Coppola. (His other auteur project, 20 years earlier, was The Conversation, with Gene Hackman. Complete coincidence.)

The photography is exquisitely careful, the product of a year of research with different cameras, films and video technology to get the textures right. As will emerge in the discussion, Coppola has reached the point in his career where he can get actors and behind-the-camera creatives to spend a year or more on a project, and can get the money – perhaps from his own account – to finance an effort where artistic perfection can get ahead of the economics of entertainment.


© NOLAscape 2017

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