by Simon Abrams
From the late 1970s to the late 1990s, Penelope Spheeris made three music documentaries that doubled as snapshots of a particular time in California. With the release of a new Blu-ray set, the director looks back on the process.
The subject of Granik’s documentary was a minor player in Winter’s Bone. After years of filming him, she put together an emotional portrait of poverty, PTSD, and his many survival tactics.
Producer James Gay-Rees and director Asif Kapadia talk about why they turned their documentary Amy around so quickly, how they built trust with Winehouse’s media-shy former friends, and the hidden woman they reveal.
The lead director and co-writer of Pixar’s latest animated movie talks about characters he cut (including Pride, Hope, and Schadenfreude), dead ends and problems, and why it’s so expensive to make textured, glowing CGI characters.
Since the surprise 1981 hit My Dinner With André, André Gregory and Wallace Shawn have collaborated on two more films. As a Criterion Collection box set gathers their work together, they look back.
The subject and star of Bill Pohlad’s biopic talk about the hard work that went into it, and the message people will get out of it.
Josh and Benny Safdie blur the lines between fact and fiction with Heaven Knows What, a look at New York junkies taken from life.
The comedian and actor talks about his first leading-man role, his past, and why he ended Kroll Show when he did.
The star and director of the twisty, self-referential drama discuss the special qualities of acting in a second language and the importance of doing more by doing less.
The screenwriter of 28 Days Later and Sunshine makes his directorial debut with this small, intense science-fiction feature, which mixes abstract musings and direct action.
The director of “Rejected,” “It’s Such A Beautiful Day,” and other cult stick-figure animation discusses, trying to direct a 4-year-old, his experiment on The Simpsons, and how his films make friends without him.
The writer-director talks about how his movies’ dynamics have evolved, and why he stands up for so-called unlikeable characters.
With an “unauthorized” R-rated cut of his thinly fictionalized portrait of Dominique Strauss-Kahn hitting theaters this week, director Abel Ferrara sounds off on the film’s troubled post-production.
The writer-director brother team of Nathan and David Zellner discuss how a decade-old urban legend inspired their melancholy movie about a Japanese woman chasing the buried money from the Coens’ Fargo.
A bout of stage fright led the actor/writer/director to seek the counsel of classical pianist Seymour Bernstein. That in turn led to Hawke’s first film as a documentary directory, Seymour: An Introduction. Here, Hawke discusses Bernstein and what growing older has taught him about creativity.
The prolific director of Deliverance, Zardoz, and Excalibur has announced his retirement following the new Queen And Country, the second of two autobiographical films. In a career-spanning interview, Boorman reflects on the highs and lows of a lifetime behind the camera.
The venerable director discusses the delicate balancing act of Maps To The Stars—and why it isn’t Hollywood satire.
The writer-director-stars of the vampire mockumentary What We Do In The Shadows talk about their initial mutual loathing, their spin-off plans, and their overacting problem.
The Iranian-born writer-director of Persepolis discusses her first English-language movie, her crush on her star Ryan Reynolds, and why she’ll never do a franchise film.
The stand-up and actor talks about the new documentary Tig, her lack of taste for fame, her rom-com love story, and keeping her cool while surrounded by cameras.
The director of Berberian Sound Studio discusses the unusual romance at the center of his softcore homage The Duke Of Burgundy.