Directors
Interviews - Directors
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Don Hahn Talks Howard Ashman, Musical Animation, and his Documentary Howard
For a few brief shining years Howard Ashman was one of the most influential filmmakers in Hollywood. With the composer Alan Menken he had already created an Off-Broadway hit with Little Shop of Horrors, and, at Walt Disney Animation Studios in the late 1980s, he was a pivotal force in creating The Little Mermaid, Beauty and the Beast, and Aladdin—films that galvanized an industry-wide animation renaissance—as not just a lyricist but a producer, writer, and director. He died of AIDS-related complications in 1991, however, while the latter two of these films were still in production: Beauty and the Beast was dedicated “to our friend Howard, who […]
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“I Had to Think How to Distill the Spirit of the Book, and Not Try in Any Way to Replicate It”: Rachel Dretzin on Far From the Tree
As someone who is not a parent, never wanted to be a parent, and still says a silent prayer of “thank heaven that’s not me” every time I walk by a mom or dad struggling with a stroller, Rachel Dretzin’s Far From the Tree — based on Andrew Solomon’s NY Times bestseller Far From the Tree: Parents, Children and the Search for Identity — at first glance seemed far from making my must-watch-docs list. Which is precisely how I know it’s as good as it is. When I finally got around to catching it on screener recently, Dretzin’s film — […]
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“I Don’t Care If It Never Shows in a Theater”: Steven Soderbergh on sex, lies, and videotape, 4K HDR and the Studio System
Some films make a splash on their initial release and are largely forgotten just a few years later; others are ignored but rise in stature with the passage of time. Steven Soderbergh’s 1989 debut sex, lies, and videotape is one of those rare movies that was a phenomenon in its time and has only gotten better with age, a razor-sharp exploration of the ways in which we lie to each other and ourselves and an inquiry into what those lies say about our relationships, our desires, and our society as a whole. An extremely specific movie about a precise social […]
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Joan Micklin Silver on Casting Crossing Delancey and Steven Spielberg’s Role in Getting the Film Made
Joan Micklin Silver’s Crossing Delancey, her studio romantic comedy about a thirtysomething trying to escape her Lower East Side roots, is the epitome of the New York Woman series the Quad has been running all month. After a difficult experience at United Artists with her 1979 masterpiece Chilly Scenes of Winter, Silver took on her biggest production yet, an adaptation of Susan Sandler’s stage play, Crossing Delancey. The Nebraska native returned to examining Jewish identity in New York, as she did in her first film Hester Street, but instead of immigrants at the turn of the century, her focus was […]
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“Zooms are Totally Underutilized”: Bo Burnham on Eighth Grade
With Bo Burnham’s Eighth Grade now in theaters, we’re reposting this interview with the writer/director conducted during SXSW 2018. The movie: Eighth Grade The Plot: Shy and uncertain (except when doling out life advice on her sparsely followed vlog), eighth grader Kayla (a revelatory Elsie Fisher) struggles through her last days of middle school. The Interviewee: Bo Burnham. Eighth Grade is the feature directorial debut for the multi-hyphenate writer/director/musician/stand-up comedian. Filmmaker: Let’s start by talking about opening shots. The way you open the Jerrod Carmichael stand-up special you directed for HBO — this extremely tight close-up with Carmichael already on-stage […]
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“The Main Way to Force Strategic Failures and Fix Broken Elections is to Pay Attention”: Kimberly Reed on Dark Money
With the sudden renewed focus on the Supreme Court this summer the theatrical premiere (July 13th at NYC’s IFC Center, July 27th at the Landmark Nuart in LA) of Kimberly Reed’s Dark Money couldn’t have come at a more apropos time. The momentous Citizens United decision of 2010 had a political game-changing impact across the U.S., nowhere more so than in Reed’s home state of Montana, a land with a long and sordid history of outside money influence — most notably from the copper barons, who once swept in to essentially buy the city of Butte. As a result, however, […]
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“I Think the World Needs More Truly Queer Films”: Director Drew Lint on his Gay Identity-Swap Thriller, M/M
The unofficial centerpiece of Berlin’s Xposed International Queer Film Festival, Drew Lint’s M/M takes a decidedly unique approach to the identity-swapping thriller. Somewhat reductively categorized as a gender-reversed Single White Female, Lint’s feature debut is a near dialogue-less delve into the darkest recesses of obsession. Matthew (Antoine Lahaie) is a French-Canadian new to Berlin who becomes increasingly fascinated with Matthias (Nicolas Maxim Endlicher). The Berlin-based, Ontario-bred Lint interrogates Matthew’s subsequent identity assumption with hypnotic and occasionally fantastical vignettes, set to the thrums of appropriately dissociative techno. Where films of a similar set-up may stop short of any sort of thesis, […]
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Nine Cameras and 101 Shooting Days: Director Dante Lam and Producer Candy Leung on Operation Red Sea, Stunt Choreography and Working in English
The second-highest grossing Chinese film of all time, Operation Red Sea has earned over a half-billion dollars since its release this past February. Writer/director Dante Lam introduced the film at a New York Asian American Film Festival screening on June 30 and accepted the festival’s Daniel A. Craft Award for Excellence in Action Cinema. Operation Red Sea is loosely drawn from the real-life evacuation of Chinese hostages during the 2015 civil war in Yemen. In the movie version, Jiaolong, an elite task force, not only have to free hostages, they must also stop an attempt to sell yellowcake uranium to terrorists […]
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“Agitating the Information”: Director Gus Van Sant on his Long-Take Columbine Drama, Elephant
The following interview was originally published in our Fall, 2003 print edition. When I first interviewed Gus Van Sant, he had just finished editing his feature Gerry and was preparing to launch it at the Sundance Film Festival. A radical left turn from the two studio films, Good Will Hunting and Finding Forrester, that preceded it, Gerry mixed together movie stars (Matt Damon and Casey Affleck), the “long-take” style of such filmmakers as Béla Tarr and Chantal Akerman and a simple yet metaphorically rich scenario taken from the news headlines. Working without a formal script but with the remarkable director […]
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“… the Way Someone Would Shoot a Film in an Architectural Magazine”: Gus Van Sant on Last Days
The below interview with Gus Van Sant originally appeared in our Summer, 2005 issue. The subject matter of Gus Van Sant’s new film, Last Days, appears on the surface to be the stuff of a sensationalistic movie of the week. A moody, confused, perhaps drug-adled rock star Blake (Michael Pitt) — who bears more than a coincidental resemblance to Kurt Cobain — wanders aimlessly through a dilapidated mansion just before his end comes. Van Sant’s two previous films, which form a loose trilogy with Last Days, were also torn from the headlines: Gerry was inspired by a newspaper article about […]
