Ash Is Purest White
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There’s a moment in Orson
Welles’ The Other Side of the
Wind in which a critic accus-
es John Huston’s veteran director
Jake Hanaford of borrowing from
other filmmakers. “It’s alright to
borrow from one another, what we
must never do is borrow from our-
NJ STAGE - ISSUE 57
by Eric Hillis
selves,” is his sage-like response.
I’m not sure I agree with Hanaford,
as filmmakers often mature by re-
turning to themes and ideas they
explored earlier in their career,
developing them with newfound
experience. After all, if a carpen-
ter makes the same chair every
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