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Emerging is a series of interviews with up-and-coming filmmakers and creatives, focusing on their breakout projects and the roads that brought them there.

Featured Emerging

Writer-director Lou Howe on building Gabriel from the inside out

by Tasha Robinson

The debuting writer-director of the Essential Viewing pick Gabriel talks about learning film at Harvard, working under Hal Hartley, and building realistic, natural dialogue.

  • The first-time solo director behind one of the year’s most startling films offers some perspective on her relationship with her subjects, six teenage boys raised in virtual isolation from the world in a cramped New York apartment.

    Crystal Moselle addresses The Wolfpack’s many open questions

    by Tasha Robinson
  • Mary Elizabeth Winstead’s husband talks about his feature writing-directing debut, Faults, co-starring Winstead as the captive of a troubled, faltering cult deprogrammer.

    Riley Stearns on diverting expectations with Faults

    by Tasha Robinson
  • The writer-director of the sharp new comedy Appropriate Behavior talks about characterization through sex, incompetence, and cultural mockery.

    Desiree Akhavan on communicating through sex in Appropriate Behavior

    by Tasha Robinson
  • Australian director Jennifer Kent just made the year’s scariest movie. And she didn’t have to look far for inspiration.

    The Babadook director Jennifer Kent talks about drawing horror from life

    by David Ehrlich
  • The writer-director talks about why his impeccably crafted debut film isn’t for race-segregated audiences, and why the marketing is more about provocation than actually communicating what his movie is like.

    Justin Simien on the calculated risks of Dear White People

    by Tasha Robinson
  • The writer-director discusses aggressive jazz, hate speech, bully teachers, and the lingering question of whether good art is fun, or work.

    Damien Chazelle on what is and isn’t ambiguous about Whiplash

    by Tasha Robinson
  • The first-time feature director talks about how he built a mind-bending yet solid narrative structure that would accommodate his cast’s fully improvised performances.

    How James Ward Byrkit constructed Coherence

    by Scott Tobias
  • The first-time director/co-writer and star of the tender, filthy new film talk about expanding their 2009 short into a full-fledged romantic comedy while maintaining its specific, personal point of view.

    Gillian Robespierre and Jenny Slate on finding Obvious Child’s voice

    by Nathan Rabin
  • The granddaughter of Francis Ford and niece of Sofia, Gia Coppola discusses her approach to making a story about teenagers, and how a lifetime of hanging out on film sets helped her feature debut.

    Gia Coppola on breaking into the family business with Palo Alto

    by David Ehrlich
  • Putting a profitable career in commercials and corporate videos on hold, Jeremy Saulnier staked his career, and his family’s money, on his second feature, the dark thriller Blue Ruin. Remarkably, the gamble has paid off.

    Blue Ruin director Jeremy Saulnier on going to extremes

    by Scott Tobias
  • Fast becoming a fixture of independent films, Anna Margaret Hollyman talks about White Reindeer, how she overcame her embarrassment about acting, and what it’s like to snort prop cocaine.

    White Reindeer’s Anna Margaret Hollyman

    by Matt Singer
  • For his second film, about the employees and residents of a home for at-risk teens, the filmmaker drew on his documentarian experience and his time working in a similar facility.

    Short Term 12 filmmaker Destin Cretton

    by Sam Adams
  • The writer-director made the transition away from the editing bay and into the director’s chair for his second feature concerning outlaws—a fixation he attributes to his “fear of being responsible.”

    Ain’t Them Bodies Saints director David Lowery on outlaws and ’70s movies

    by Noel Murray
  • Her sex comedy, set in the 1990s and centering on a college-bound virgin’s methodical attempt at sexual awakening, comes out of an Upright Citizens Brigade background, which made her more focused on being funny than being female.

    The To Do List writer-director Maggie Carey broke barriers by writing about herself

    by Genevieve Koski
  • After writing his first two features himself, director James Ponsoldt decided to direct someone else’s screenplay for a change—and ended up telling an intensely personal story all the same.

    To make The Spectacular Now as personal as possible, director James Ponsoldt decided to go home

    by Scott Tobias
  • The writer-director of this year’s breakout Sundance film talks about what compelled him to explore the 2009 shooting death of Bay Area resident Oscar Grant. In a word: “Proximity.”

    Fruitvale Station director Ryan Coogler didn’t plan to make films, but life had other plans

    by Sam Adams
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