Counterpoint

This is the first in a series exploring my favorite films and shows set in the world of the performing arts, exploring what they got right, and what they reveal about the world I'm building stories in. I've spent over two decades conducting major orchestras and ballet companies. So when Mozart in the Jungle premiered, I watched it the way an attorney watches Suits or The Good Wife: hoping it wouldn't embarrass or demean the profession. In addition to creating colorful cha

“This is the Opera Europa. Here, you can be misunderstood in six different languages.” Mild spoiler or two ahead... Very few films have attempted what MEETING VENUS did in 1991: stage an operatic production with a full orchestra, chorus, ballet company, three different unions, and a multinational cast. I've spent over two decades conducting major orchestras and ballet companies. So, watching a film that’s not just set within that world, but one that’s specifically about

What can a career conducting orchestras teach you about screenwriting? Turns out, a lot. For many writers, "show, don't tell" is heard so often that it’s lost its meaning. But my 20 years as a professional conductor forced a nuanced understanding of the phrase on me. On the podium, "showing" is a multi-dimensional language ranging from physical gestures to the effective use of silence. Failure to speak that language can result in losing the room. Trust me, cold, blank s

I've spent over two decades conducting major orchestras and ballet companies. So, when TÁR was released, I watched it expecting to see a film about classical music. But TÁR isn’t only that. While the world-building is extraordinary, at its core, TÁR is a film about power and abuse, with classical music as the pressure cooker. Significant spoilers ahead. This one digs into how some of the film’s strongest scenes actually work. So if you haven’t seen TÁR yet, you may want to