A Handful of World: The Films of Peter Thompson, An Introduction and Interview

From Film Quarterly, Fall 2009. Note: Peter Thompson’s complete work as a filmmaker, along with many extras, is available here. There is also a web site devoted to his work at chicagomediaworks.com — J.R. It would hardly be an exaggeration to call Peter Thompson the best Chicago filmmaker you never heard of. His half a dozen films, four shorts and two features, span 28 years, and their continuities and discontinuities with one another seem equally important. Pertinent to all six films are diverse aspects of Thomson’s background: as a classical guitarist who studied with Andrès Segovia in Siena, as an undergraduate and graduate student in comparative literature (University of California, Irvine), as a onetime Navy photojournalist who teaches photography at Columbia College Chicago, and even as a first cousin of the special effects pioneer Douglas Trumbull.(Full disclosure: Thompson has been a friend for almost two decades — and a neighbor for roughly half that time — but it was my enthusiasm for his first two films that initially sparked our friendship.) His shorts come in two pairs, each one a diptych. Two Portraits (1982, 28 minutes) is devoted to his parents and each portrait works with a minimalist expansion of limited footage juxtaposed with offscreen voices—those of Thompson and his late father in the first part, Anything Else, and those of his mother reading from her diaries in the second part, Shooting Scripts. Read more

Jun 9, 2025 - 18:15

A Handful of World: The Films of Peter Thompson, An Introduction and Interview

From Film Quarterly, Fall 2009. Note: Peter Thompson’s complete work as a filmmaker, along with many extras, is available here. There is also a web site devoted to his work at chicagomediaworks.com — J.R.

It would hardly be an exaggeration to call Peter Thompson the best Chicago filmmaker you never heard of. His half a dozen films, four shorts and two features, span 28 years, and their continuities and discontinuities with one another seem equally important. Pertinent to all six films are diverse aspects of Thomson’s background: as a classical guitarist who studied with Andrès Segovia in Siena, as an undergraduate and graduate student in comparative literature (University of California, Irvine), as a onetime Navy photojournalist who teaches photography at Columbia College Chicago, and even as a first cousin of the special effects pioneer Douglas Trumbull.(Full disclosure: Thompson has been a friend for almost two decades — and a neighbor for roughly half that time — but it was my enthusiasm for his first two films that initially sparked our friendship.)

His shorts come in two pairs, each one a diptych. Two Portraits (1982, 28 minutes) is devoted to his parents and each portrait works with a minimalist expansion of limited footage juxtaposed with offscreen voices—those of Thompson and his late father in the first part, Anything Else, and those of his mother reading from her diaries in the second part, Shooting Scripts. Read more