The author’s first novel is set in Mexico City, but its themes of violence, grief, and solitude are truly global.
“Freedom and bondage I find interesting. Or purity—and a contrast to that purity.”
“I wanted to build the script as if we were entering into a brain or a memory, where you have separate elements existing in the same time and you don’t understand the logic.”
“All evidence is wrong. It’s distressed—just like memory.”
Isolation, writer’s block, and break-ups on the road to success.
These two New York natives discuss growing up in Brooklyn, the allure of the of the Museum of Natural History, and the perils of the autobiographical question in this instant classic from 2005.
Damon and Affleck star in the film together with Robin Williams and Minnie Driver, with Damon giving a first-rate performance in the title role of Will, an exceedingly bright and troubled guy from the wrong side of the tracks, the tracks in this case being Boston’s South Side.
Michael Winterbottom’s Welcome to Sarajevo, a partially fictionalized account of one English journalist’s struggle to save a Bosnian child, captures the moral dilemmas of war reporting.
Wong Kar-wai’s films are kooky, cool and without being sappy, utterly romantic. The enfant terrible of Hong Kong cinema talks with playwright Han Ong about why he puts in what others leave out.
Noted for his roles (co-writer/actor) in 1992’s acclaimed One False Move, Billy Bob Thornton makes his debut behind the lens with Sling Blade. He talks with John Bowe about writing the script, playing the hero and directing the action.
Director Miloš Forman began making films in Communist Czechoslovakia. He and writer Liza Bear talk about his film, The People vs. Larry Flynt, and censorship in the United States.
With smug self-assurance and nervous down-cast self-referential glances, we, enlightened children of the world’s last superpower, tend to talk of the achievements of South Africa as phenomena occurring in spite of itself.
Todd Haynes, the director of Safe, first met Kelly Reichardt during the making of his film Poison. They take five to compare notes upon the release of Reichardt’s first feature film, River of Grass.
Midnight—the perfect time to segue from good and evil to The Addiction and back. Abel Ferrara talks about his film while juggling the chaos of pre-production for his following release, The Funeral.
Susan Shacter interviews two British directors, Antonia Bird and Danny Boyle. Bird delves into the politics of being a female director, while Boyle expands on working closely with actors.
“We can never get close to the truth except through lying.”
In September, 1987, I asked two poets, Lyn Hejinian, from the United States and Arkadii Dragomoschenko, from the Soviet Union, to begin an unusual correspondence.