By Jonathan Marlow

Ariannélmer Cipes has worked ceaselessly to preserve the legacy of her father, the great "King of the B's," Edgar G. Ulmer. In April, the San Francisco International Film Festival screened a documentary she produced, Edgar G. Ulmer: The Man Off-Screen. Soon after, Jonathan Marlow spoke with her about its making and her father's continent-hopping, genre-busting, era-bridging career.

Page 06/14/2005 - 12:00am

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 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 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 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

By Jonathan Marlow

A highlight of the 2005 Cinequest (where star Jon Polito received the Maverick Spirit Award) and Grand Jury Prize winner at the New York International Independent Film & Video Festival, Charlie the Ox is an exceptional heist film that subtly subverts the genre. Jonathan Marlow, the film's cinematographer, talks to director Scott Smith about taking limited resources a very long way.

Page 03/05/2005 - 1:00am

By Rebecca Bird and Caveh Zahedi

Christopher Munch's very first feature, The Hours and Times, won prizes in Berlin and at Sundance over a decade ago. Now, artist Rebecca Bird talks to him about Color of a Brisk and Leaping Day and filmmaker Caveh Zahedi asks him about Harry and Max, rolling out in selected cities and due out on DVD later this year.

Page 02/21/2005 - 1:00am

By Sean Axmaker

Appearing in films by Atom Egoyan, David Cronenberg and Françs Girard, co-writing screenplays with Bruce McDonald and directing his own brilliant features (Last Night), Don McKellar is, as Sean Axmaker puts it, "Canada's most prolific hyphenate." Here, the two talk about the busy path to his latest, Childstar.

Page 01/17/2005 - 1:00am

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