McElwee discusses, among other things, his new film and staring down the loss of his son.
With expert comic timing and devastating charm, Urie plays an out-of-work gay actor who’s hired to work for Barbra Streisand.
The actor discusses Unfinished Song, and his roles from Bernadette in Priscilla Queen of the Desert to General Zod in Superman II.
What kind of Hamish Linklater fan you are likely depends on what kind of entertainment you take in the most.
She’s living proof that you should never presume to know what you’re going to get when you meet an actor.
One of the actress’s killer virtues is her ability to tackle searingly human drama without seeming to take herself too seriously.
We spoke with the director at Cannes about The Congress’s fascinating origins and reception thus far.
Both discuss how the Before saga has ebbed, flowed, and evolved with spontaneity, like life itself.
Anticipating an interview with the actor is a lot like waiting to take a lie-detector test, albeit with the tables turned.
We sat down with Beane in the historic Lyceum theater to talk about his works now playing on Broadway.
Carruth hopes that Upstream Color’s ending will eventually appear less resolved than its surface suggests.
The director talked about Ryan Gosling, family, fateful collaborations, and how, in art and life, choices mean everything.
Ascher discusses what he learned most from The Shining fans profiled in Room 237 and his own love of Kubrick.
Before he even takes a seat, Korine makes note of the faint “unce-unce” pumping out of the house speakers.
This living, breathing, low-budget seal of approval has kept busy bringing dramedic street cred to numerous projects.
Raskin honed his craft working as an assistant editor for Tarantino’s late editor Sally Menke.
We spoke with Lonergan about the formal and structural qualities that make Margaret an uncommon cinematic experience.
The actress, now starring in Hitchock, divulges tidbits about at least six projects, all of which left her little time for rest in 2012.
Anna Karenina marks the 40-year-old Brit’s third pairing with Keira Knightley, and it’s arguably his boldest work to date.
A self-described “down-east liberal,” Stoehr is all too aware of the irony that the foreword to Ride, Boldly, Ride was written by Eastwood.
Posey is a singular, essential comedienne, unafraid to act a fool while also acting her ass off.