Mendes feels that “you can’t mimic your mentors, you can’t copy them, but you’ve got to understand where you are.” His place-as the master showman of the British theatre scene, whose emotional and analytic intelligence, swiftness, and command are more or less unrivalled-is secure. “I lost count of the number of times while I was directing this that I thought, How would Howard do this?” he said. Jacobs, on October 21st.) This time, when Mendes accepted his award, he dedicated it to “a relatively unsung hero of British theatre,” the director Howard Davies, who died in 2016. (Mendes’s staging of “The Ferryman” will open on Broadway, at the Bernard B. In April, at London’s Royal Albert Hall, Mendes was at it again, taking the stage to accept the Olivier Award for his direction of Jez Butterworth’s “The Ferryman,” which also won an Olivier for Best New Play. Plainview in “There Will Be Blood,” Bergman for the visit of Bibi Andersson to Liv Ullmann in the dead of night in “Persona,” Francis Coppola for the killing of Fredo Corleone in “The Godfather II,” David Fincher for the first scene in “The Social Network,” Bob Fosse for the audition sequence at the beginning of “All That Jazz,” Quentin Tarantino for Christopher Walken’s speech about the watch in “Pulp Fiction,” Woody Allen for the fireworks over “Manhattan,” Clint Eastwood for making it rain at the end of “Unforgiven,” Michael Powell for the moment Moira Shearer steps into the ballet of “The Red Shoes,” David Lynch for the car journey with Frank Booth in “Blue Velvet,” Mike Nichols for Benjamin in the swimming pool in “The Graduate,” François Truffaut for the moment the boy looks into the lens at the end of “400 Blows,” and Wim Wenders for the moment Harry Dean Stanton sees Nastassja Kinski after all those years at the end of “Paris, Texas.”
Baxter in “The Apartment,” Kurosawa for the death of the king at the end of “Throne of Blood,” Martin Scorsese for panning a camera down an empty corridor in “Taxi Driver,” Joel and Ethan Coen for the last scene between Marge and Norm in bed at the end of “Fargo,” Paul Thomas Anderson for the deafening of H. W. I want to thank Stanley Kubrick for the war room in “Dr.
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