Sunday, January 1 1995
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.
The director of Il Postino talks to PopMatters about his new Shakespeare adaptation The Merchant of Venice.
Jeremy Podeswa speaks softly and wears dark clothes. He looks like an artist, like he lives in the city and spends his time in galleries or movie theaters, feeling super-aware of his environment and the people in it, as sounds, colors, and lines, mysteries and motivations.
Jonathan Mostow's first feature length film was 1997's Breakdown, with Kurt Russell as Jeff Taylor, a middle-class white man victimized by rednecks in an extortion plot.
'Hollywood didn't make Good Bob go bad, but it helped Bad Bob come out.'
The director of the new Sean Penn film, The Assassination of Richard Nixon, talks to PopMatters about his interests in history and the kind of hopeless rage that erupts in violence.
Creating meaning Lisa Krueger’s new film, Committed, features Heather Graham as the irrepressible Joline, a young New York City club manager who commits with
Tilda Swinton likes to talk, laugh, and make jokes about the strange and wonderful business she's in. She's a lot of fun.
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!
It is kind of a dance Jehane Noujaim and Chris Hegedus have a rhythm together, like they’re used to talking and thinking as a
Chris Rock comes into the Presidential Suite at the Hyatt Regency in Washington DC. His 'people' are already there, the people who set up his schedule and look out for him.
Different as they may be, and they are, Chris and Paul Weitz appreciate the specific weirdness that each brings to their relationship, as brothers and filmmakers.
Once touted as a brilliant young artist, whose The Last Picture Show (1971) evidenced both a youthful sensibility and tender nostalgia, Peter Bogdanovich counted among his friends Orson Welles and John Ford.
People think the movie's supposed to come to you. But we're more like, 'We're going to wait over here, and if you want to come in, okay.'
marks the feature-length directorial debut by Damien O'Donnell, and tells the story of the Khan family, a group of people living in 1970s Manchester, England and coping with the social and personal difficulties of biracial and interfaith marriage.
I like it when a character is irrational, when a character does contradictory things. I feel like it wakes you up, because you're trying to connect the dots.
I find it very easy to go from, say, a lit, pleasurable environment, to a very dark place.