Interviews
Interviews
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“Withholding Information Makes You More Engaged”: Elena Oxman on “Outerlands”
After a run-in with a new coworker at the laundromat, Cass (Asia Kate Dillon) has a drunken hookup with Kalli (Louisa Krause). Kalli seems to take an immediate trusting to Cass, and after Cass tells her their side-gig is nannying, Kalli asks if they can watch her daughter Ari (Ridley Asha Bateman) while she goes out of town for work. Cass makes an income by caring for others—watching rich kids by day, serving in a restaurant by night—but their own inability to take care of themselves comes to the forefront when they suddenly have to play parent to a pre-teen. […]
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“On The Set It Was a Funeral Everyday”: Kaouther Ben Hania on “The Voice of Hind Rajab”
Almost no film has devastated me as much as Tunisian filmmaker Kaouther Ben Hania’s The Voice of Hind Rajab. In an age of numbing doom-scrolling, we may be unprepared for the impact when a single story is given the thoughtful, shattering treatment by an empathetic filmmaker. That story made headlines: a 6-year-old Palestinian girl, Hind, called the Red Crescent emergency center in Ramallah in January 2024 begging for help because a tank was shooting at her family’s car. Recently been nominated at the Oscars for Four Daughters and The Man Who Sold His Skin, Ben Hania sought permission from Hind’s […]
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Diane Kruger, Back To One, Episode 371
Diane Kruger is a German actress known for her verticality in roles and languages, from Hollywood blockbusters like Troy and National Treasure, to Tarantino’s Inglourious Basterds and international gems like In the Fade, for which she won Best Actress at Cannes. Currently she stars in two television series, The Seduction, a French-language period drama for HBO MAX, in which she plays Madame de Rosemonde, and Little Disasters, a psychological thriller for Paramount+ where she plays a complex, fiercely devoted new mother whose world collapses around her. On this episode, she gives us a peek inside her acting process and the ingredients in the “sauce” that help her do her work, […]
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Liz Garbus on Non-Fiction Filmmaking
Liz Garbus broke into documentary features with The Farm: Angola, USA, an unnerving portrait of the notorious Louisiana prison. Made when Garbus was 24, it looks eerily prescient today. Garbus has since directed a string of influential works covering the spectrum of the documentary genre. Gone Girls: The Long Island Serial Killer used the Gilgo Beach serial killings to uncover police corruption in Suffolk Country. What Happened, Miss Simone?, a wide-ranging look at Nina Simone, won Emmy and Peabody awards. All In: The Fight for Democracy tackled voter suppression. She’s explored shorts, features and series for every available platform, from […]
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John August on “Scriptnotes” (the Book)
After Syd Field’s Screenplay was published in 1979, an entire cottage industry sprung up in Hollywood. Screenwriting manuals and classes, overnight gurus and other (often predatory) enterprises promised impressionable aspirants a breakthrough if they just practiced a particular architecture of rules to write their dream spec feature. The next migration happened to the blogosphere in the Aughts, and in the teens, a plethora of screenwriting podcasts blossomed. Few voices have proven trustworthy, though. Cutting through the clutter in 2011, John August (Big Fish, Corpse Bride) and Craig Mazin’s (Chernobyl, The Last of Us) “Scriptnotes”’s podcast has developed a formidable following […]
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“It Was Too Dangerous To Make This Film in America”: Eugene Jarecki on The Six Billion Dollar Man
Eugene Jarecki’s The Six Billion Dollar Man, much like its main character Julian Assange, is a doc destined to spark controversy. Jam-packed with gripping never before seen footage (much of it captured by Ecuadorian embassy CCTV) and an eclectic roster of interviewees (from Edward Snowden to Pamela Anderson), the film offers a sort of vertigo-inducing alternative history of the WikiLeaks founder and his tabloid-sensationalized troubles; and in doing so asks us to reconsider the media narrative that’s long been built by unseen hands around him. For how much of what we know about the information freedom fighter is actually “true,” […]
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Director as Dinner Party Host: Dan Trachtenberg on “Predator: Badlands”
Architect of the three last films in the Predator franchise (the previous two being the 1719-set Prey and animated anthology film Predator: Killer of Killers), Dan Trachtenberg would be the first to tell you that many of Predator: Badlands’s gorgeous landscape shots are inspired by Terrence Malick or Sergio Leone. In the same breath, he’d also be quick to mention how composer Sarah Schachner’s score for the video game Anthem served as a launching pad for the this film’s music—Trachtenberg creates something new by unifying artforms most people don’t group together. With Predator: Badlands, for the first time the franchise […]
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“There Were Many Fragmented Aspects to Sara Jane’s Testimony”: Robinson Devor on “Suburban Fury”
Robinson Devor’s Suburban Fury, made in collaboration with writer Charles Mudede (who also co-wrote Devor’s 2005 acclaimed narrative feature Police Beat and 2007’s provocatively disturbing Zoo), is as counterintuitively intense as its title might imply. The unconventionally riveting doc takes us on a wild and winding (car) ride back in time, via the backseat reminisces of its enigmatic star Sara Jane Moore, who in September 1975 tried to shoot President Gerald Ford outside San Francisco’s St. Francis Hotel. Eschewing recreations for cinematically staged interviews with the infamous nonagenarian (who passed away in September at age 95), along with evocative archival […]
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Composer and Musician Michael Brook on “Heat,” U2 and Hans Zimmer
Michael Brook has collaborated with some of the most influential filmmakers and musicians of the last 40 years without ever threatening to become a household name. When I spoke to the inventor and composer last month at the Warsaw Film Festival, I asked if he valued the recognition of awards bodies, to which he explained with typical candor that “almost everything I do is not the kind of thing that the Academy is interested in, and that’s fine.” Brook got his first break in 1984 when he convinced Brian Eno, then a customer in the Toronto video lab where he […]
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Music as Nourishment: Max Richter on Scoring “Hamnet”
With Songs My Brother Taught Me (2015) and The Rider (2017), Chloé Zhao constructed tender epics out of prolonged time spent at the Pine Ridge Reservation in South Dakota. Much like her Oscar-winning Nomadland (2020), these films are born out of geography, setting characters yearning for freedom and belonging against vast American landscapes.. Zhao’s fifth feature, Hamnet, likewise finds a synthesis between the natural world and the interiority of her characters in telling a story of creation in every sense of the word — the genesis of new life and the mysterious place within where creativity and artistic processes emerge. […]
