“I just write what I feel and what interests me,” Glen Owen says. “At their core, every story that I have does have ultimately a similar message of hope amidst all the obstacles that you have to deal with.”
Patrick Muldoon was not simply a co-lead. He was a friend, a creative partner, and, in the world of “Dirty Hands”, the man who made that central brotherhood breathe.
For KEVIN INTERDONATO, “If I can just give back to people the same joy from film that I received, that I look for, then my job is done.”
For filmmakers and craft artisans, FUZE offers a compelling case study in how to compress narrative, manipulate audience attention, and sustain tension without excess.
“It’s a fast film. There’s a heck of a lot going on… bang, bang, bang,” Mackenzie says. “And there’s something really exciting about being able to do that and not lose sense of the film.”
“What’s going to work against you, you have to make work for you,” David says, summing up a philosophy that shaped the entire production.
By the time AMERICAN SOLITAIRE reaches its final movement, Davidman has earned something increasingly rare in films tackling large social themes: hope that does not feel facile.
According to Timothy David, central to the power of KANGAROO ISLAND is that “It’s a tragedy that tore the family apart, and what ends up happening is it’s a tragedy that brings them back together.”
ANTON SIGURDSSON wanted REFUGE to ” look amazing…we can kind of mix old school cinema in with a fresh wave of punk rock and roll.” Exclusive Interview!
For Ben Wheatley, “what I really liked about [NORMAL] was that it was a neo-Western. I’d wanted to do something like a Western for a long time.”
DILLON BENTLAGE discusses memory, caregiving, collaboration, and the visual and emotional architecture of his deeply humane first feature, WATCHING MR. PEARSON.
With his first serious dramatic turn as a director with A LOVE LIKE THIS, JOHN ASHER talks Malibu light, emotional risk, editing with intention, and a surprise hello from his mother, actress Joyce Bulifant.
