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Arthur Meiselman | Scene4 | A Man For All Seasons But One... redux | I'll keep it short with cloudy details because I haven't retold it much and I'm uncertain as to the outcome of the events and the relevance or danger of the facts today. | Scene4 Magazine - April 2013
Arthur Meiselman | Scene4 | Blue Eyes at Nightt | Two questions, seemingly unrelated and then again, not. What If This Is All There Is? and Whatever Happened To Martin Brest? | Scene4 Magazine - March 2013
Arthur Meiselman | Scene4 | The Jew In The Box | He sat propped up against the back wall, one of his legs twisted away from him like a puppet�s limb. His reddish and blue face was a mask smoothed and scrambled by the plastic bag over his head. | Scene4 Magazine - May 2013
Arthur Meiselman | Scene4 | Of Vivaldi and Women | What do you know about self-possessed loneliness? Bone-aching, silent, time standing-still loneliness. An aloneness that the titillation of television or drugs or music, even suicide holds out no hands of hope. | Scene4 Magazine - June 2013
Arthur Meiselman | Scene4 | John Garfield and Hazel Brooks | John Garfield was a movie star in the 1940's and 50's, a counterpoint to Humphrey Bogart, a poster-man for the joyous angst, the bewildering urban stew of New York and its steaming boroughs. | Scene4 Magazine - July 2013
Arthur Meiselman | Scene4 | As the Wheel Turns - A Publishing Event |
The Laughter of Orson Welles | He had a bellowing laugh, one that shook him and everyone around him. He laughed easily. One of my few regrets is that I never knew Orson Welles. I heard him live, as a speaker, on a few occasions and I saw him, live, as an actor in a reading of his play, Moby Dick, in the early '60s in New York. Yet, I do know him... from his work, which is an especially intimate way to know anyone. And this is what I know.. | Scene4 Magazine - January 2013
Arthur Meiselman | Scene4 | Lingua Thai | For a time in the last century European languages dominated international communication. Speak them appropriately at the appropriate occasion and you were considered 'civilized'. Speak them not, and you were considered 'provincial', 'back-water', 'second class'. | Scene4 Magazine - September 2012
Arthur Meiselman | Scene4 | Five Reasons Why Cinema Is Dying | Well it's not really dying. Rather, the prevailing art-form of the 20th century is expanding like the universe into an amorphous stew. | Scene4 Magazine - October 2012
Arthur Meiselman | Scene4 | Actor? Let's See Your License | For our own quality assurance, we try to license everything that is important to us, except giving birth to and raising children, of course. | Scene4 Magazine - November 2012
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