Sunday, January 1 1995
Paul Thomas Anderson describes his new film, Magnolia, in language that only seems simple. He's obviously excited about it, glad to have it released and to be talking about it, which, he observes, is part of the process.
Chris McQuarrie doesn't look like someone from Hollywood. He doesn't wear black, his face is pleasant and his voice soft and deliberate, without the speed and breathlessness that afflict folks who spend too much time inside the business.
Rob Sitch seems the type who might turn questions around on his interviewer fairly regularly.
I didn't want the characters to have to explain why they exist. I don't feel like I have to do that.
Samantha Mumba sits in a hard-backed chair: perfect posture, perfect makeup, perfect smile.
Dominique Deruddere seems like the ideal dad.
The 28-year-old Brooklyn native began writing plays when he was just ten years old, and his first starring film role was also his first film role.
Smooth and unstoppable, he's not one to rest on his laurels, but likes to stay busy.
Sean Patrick Thomas is one of the more genuinely polite people I've met. He stands up to shake my hand when I arrive and leave. He acts as if he actually wants to be here, in this hotel lobby two days after Christmas, talking about his job.
The story of San Francisco-based blues singer Paul Pena's journey to Tuva, a teeny republic in the heart of Asia, is certainly strange and wondrous. Still, given the obscurity of almost every element involved, the story probably wouldn't strike most people as the ideal material for a first film.
It was a little alarming playing a bad actor, because I used to be a bad transvestite, and I've spent years trying to get away from that, trying to be someone whom people might look at and say, 'Hey, I wish I could have that look!
Orlando Jones is a bit of a surprise.
For their The Princess and the Warrior, Tykwer and Potente worked together on the script, developing the complicated relationship between her character, the psychiatric nurse Sissi, and an emotionally damaged ex-soldier named Bodo (Benno Furmann).
+ But I’m a Cheerleader review by Stephen Tropiano We’re all walking a tightrope In an alternate universe, Jamie Babbit might have been a
Errol Morris makes disturbing, lyrical, powerful nonfiction films, and he has a lot to say about them.
Paul Thomas Anderson describes his new film, , in language that only seems simple. He's obviously excited about it, glad to have it released and to be talking about it, which, he observes, is part of the process.
It wasn't actually the novel that attracted me, it was the script.