By Alison Veneto

Difficult to typify or classify, the films of Brad Anderson continue to draw critical buzz but not always a big audience. His highly praised and rather dark film The Machinist did little to change that pattern, but is due for a new appreciation upon its DVD release. The director looks back on his work so far and to the future, including a rumored Crazies remake, in an engaging chat with Alison Veneto.

Page 06/06/2005 - 12:00am

By Jonathan Marlow

Rob Nilsson is the first American director to win both the Camera d'Or at Cannes and the Grand Jury Prize at Sundance. On the occasion of the world premiere of his newest film, Security, in the GreenCine Online Film Festival, Jonathan Marlow talks to him about his fiercely independent career, spanning nearly thirty years.

Page 06/01/2005 - 12:00am

By Hannah Eaves and Jonathan Marlow

The work of Adam Curtis - specifically, two episodes of his Pandora's Box, Goodbye Mrs. Ant and The Brink of Eternity - will be screened this week at the Green Screen Film Festival in San Francisco. As a follow-up to David D'Arcy's interview, focusing on The Power of Nightmares, Hannah Eaves, Jonathan Marlow and Tom Luddy talk to Curtis about his unique approach to storytelling.

Page 05/30/2005 - 12:00am

By Craig Phillips

Todd Solondz, the master of misery, misanthropy and discomfort, is back with a new film as sure to provoke as any of his previous works: Palindromes. GreenCine's Craig Phillips caught up with the man critic David Thomson called "an exemplary figure in a group of 'nasty' filmmakers," to talk about the pains of production, all the Avivas in Palindromes, whether or not to laugh, and, yes, the "A" word.

Page 05/06/2005 - 12:00am

By Jonathan Marlow

From the pages of Film Comment and Cinema Scope to festivals in Berlin, Venice, and this year, Cannes, fans of Korean cinema are arguing, often furiously, about Kim Ki-duk. Jonathan Marlow talks with the director about, among many other things, how the "Kim Ki-duk style" plays in the US.

Page 05/02/2005 - 12:00am

By Hannah Eaves

Jonathan Rosenbaum has called Hal Hartley's The Girl From Monday (screening this weekend at the Roxie Cinema in San Francisco) as "flaky, funny and sexy," but it's also rather dense and quite different from his earlier work. Hannah Eaves and Jonathan Marlow talk to Hartley about the evolution of his work and his latest project, Possible Films.

Page 04/24/2005 - 12:00am

By Sean Axmaker

Sean Axmaker talks with the extraordinarily affable Taguchi Tomorowo about how a Japanese punk rocker became a favorite actor for directors such as Tsukamoto Shinya, Takashi Miike, Sabu, Ryuichi Hiroki and Imamura Shohei.

Page 04/17/2005 - 12:00am

By Jonathan Marlow

Appearing in over 125 films since he began acting a child (not to mention countless television performances), Dean Stockwell has had one of the most wide-ranging careers in Hollywood and indie film. Jonathan Marlow talks him through it, all the way to his latest passion, art.

Page 04/10/2005 - 12:00am

By Sean Axmaker

Watching Sahara, you'd think Steve Zahn and Matthew McConaughey have been friends since they were kids. Bonding with the lead is a Zahn specialty, and Sean Axmaker asks him not only how he does it - but also whether he worries his talent will have him permanently typecast.

Page 04/08/2005 - 12:00am

By Sara Schieron

Blue Vinyl, a surprisingly comical look at "life with the backdrop of industry," goes to the hubs of vinyl manufacturing to show the dangerous effects of the pollutant, and in the process identifies it as a danger to humanity on a larger scale. Co-director Judith Helfand talks with Sara Schieron about the film and its recent impact on environmental activism.

Page 04/04/2005 - 12:00am

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