Rob Epstein and Jeffrey Friedman needed a mere 14 shooting days this spring to shoot Howl in Manhattan. That singular fact is both remarkable and deceptive, as preproduction and postproduction require substantially more days, weeks and months. Indeed, the Academy Award-winning documentary makers, making their narrative feature debut with this dramatic saga of Allen Ginsberg’s scintillating, scathing poem and the obscenity charges that landed City Lights publisher Lawrence Ferlinghetti in a San Francisco courtroom in 1957, are happy to be back in their comfort zone. “I love the editing process,” Epstein declares. “It’s usually my favorite part. This is when you really feel it coming alive—or not, and have to find ways to make it come alive.” Read the full article here.
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