Pages in this section
- “Look out Haskell,
it’s real!” - The Concrete Wilderness
- First draft script
- Handbook of
Production Information - Preliminary Production
Notes and Synopsis - Articles and Interviews
- Medium Cool and Uninvolvement
- Notes on Involved Commercial Cinema
- To the Barricades
- The camera never lies
- Film Quarterly
- Todd Gitlin
- Pulling out all the f-stops
- Chicago and
Other Violences - A View of the Future
- The People’s Cinematographer
- American Cinematographer
- Journey Toward a Dream
- The Danger Is Seduction
- “See, nothing is ‘real’”
- The ‘Woolf’s’ Young Turk
- Sight and Sound
- Cinematographer Who Pictures Reponsibility
- Finally Coming In
From the ‘Cool’ - ‘Medium Cool’ for
the Medium Young - Chicago Cool
- Filming on a Mortgage
- Senses of Cinema
- Too Hot Not to Cool Down
- Wexler’s Woes on First Pic
- David James
- Our Time:
Arlo and Chicago - Robert Forster
- Verna Bloom
- Ken Moskowitz
- Haskell Wexler’s Latino
- Reviews
- Richard Schickel
- Penelope Gilliatt
- Philip French
- Paul Arthur
- Charles Champlin
- Gary Arnold
- Vincent Canby
- John Mahoney
- Jim Marugg
- Gordon Gow
- Arthur Schlesinger
- Gene Siskel
- Michael Ross
- Roger Ebert
- Hollis Alpert
- Tom Milne
- Jay Cocks
- William S. Pechter
- Stephen Farber
- Andrew Sarris
- John Simon
- Stanley Kauffmann
- Rex Reed
- Joseph Morgenstern
- Hendrik Hertzberg
- Jan Dawson
- Whitney Williams
- Dan Wakefield
- Penelope Houston
- John Coleman
- Richard Whitehall
- “Look out Haskell,