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The Projection Booth

Special Report: Moseby Confidential

The Projection Booth

The Projection Booth

Tv & Film, Film Interviews, Film Reviews, Film History

4.6709 Ratings

🗓️ 27 September 2019

⏱️ 40 minutes

🧾️ Download transcript

Summary

On this special episode of The Projection Booth, Mike talks with author Matthew Asprey Gear about his latest work Moseby Confidential: Arthur Penn’s Night Moves and the Rise of Neo-Noir. Gear examines how Penn's film worked among the neo-noirs of the '70s as well as how screenwriter Alan Sharp injected a lot of his biography into the work.
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Transcript

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0:00.0

You're listening to an Airwave Media podcast.

0:04.6

Christopher Media. Let's make some noise.

0:07.0

Hey, folks, welcome to a special episode of The Projection Booth.

0:09.4

I'm your host, Mike White.

0:10.4

On this episode, I'm talking to Matthew Asprey Gear, the author of Mosby Confidential,

0:16.0

Arthur Penn's Night Moves and the Rise of Neo-Noir.

0:19.3

Of course, I'm a huge fan of night moves. We did an episode

0:22.0

on that a few years ago. I would recommend you check that out, check out the movie, check out

0:25.9

Mr. Geer's book, and enjoy this interview. So Matthew Asprey Gehart, tell me a little bit about

0:32.7

you. I'm very curious how you decided to become a writer. I've been writing since my early 20s.

0:38.6

I've written a lot of fiction, and I mean, I actually consider myself sort of first and

0:43.6

foremost a fiction writer.

0:44.7

I'm mostly short stories I've published.

0:47.0

I have an academic background in my area is film studies, so I've just published two

0:52.8

books about cinema. There's a book about

0:55.3

Awesome Wells and now a new book about the author of Pan film Nightmaves. So I guess I'm very

1:01.5

interested in crime fiction. I've written some crime fiction myself. So I'm interested in the

1:06.5

genre. It all kind of feeds into, like the fiction I write, I guess in some ways, feeds into

1:13.0

the nonfiction I write. I mean, thematically anyway. So I've read a ton of books about Wells,

1:19.1

and I'm curious what angle do you come at him at the end of the street in the shadow?

1:25.0

It's a study of his body of work, kind of far beyond what you would consider

1:29.3

this sort of established filmography because it looks at a lot of unpublished or unmade screenplays

...

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