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Writer/director Duncan Jones' feature debut was the stunning, sci-fi tale,
Moon. Jones chats with Chris Neumer to talk up Sam Rockwell, get into why studying philosophy can make you miserable and how certain types of acting are like jazz.
Jeff Nathanson made a name for himself scripting
Rush Hour 2, Catch Me If You Can and
The Terminal. Moving from behind the laptop to behind the camera for the first time on
The Last Shot, Nathanson talks to Chris Neumer about the craziness that is today's Hollywood and when the right time is to bring in a rubber chicken.
Actress/screenwriter, Jennifer Westfeldt, was one of the major driving forces behind the delightful indie,
Kissing Jessica Stein/. Chris Neumer chats with Westfeldt about frat boys watching lesbian romantic comedies, creating a female Alvy Singer and why happy endings aren't always the best way to go.
Writer/director Kimberly Peirce has been working on her latest film,
Stop Loss, for more than five years. Peirce talks to Chris Neumer about this process and gets inside why the 'truth' is out there and discusses the concept of an audience member breaking up with a director.
Renowned French writer/director Luc Besson is retiring. There are, however, enough asterisks and footnotes to that statement that the movie-going public doesn’t need to worry about an absense of Besson in any conventional sense.
From very early on in his …
Luc Besson is one of the greatest cinematic talents ever to have come out of France. From
Big Blue to
The Professional to
The Fifth Element, Besson has carved out quite a reputation for himself. He chats with Chris Neumer about retirement, casting British actors and the pains of paying to make things look worse.
Mark Bowden is one of the foremost journalists in the United States today. Having written the stories behind
Money for Nothing,
Killing Pablo and
Black Hawk Down, Bowden sat down with Chris Neumer to talk about the truth, creating narratives where there aren't any and how money plays a part in writing.
MATTHEW VAUGHN: Where’s your revenue from? Mostly from advertising?
CHRIS NEUMER: Both. We have… if we sell our cover ads, that’s it we’re done.
MATTHEW VAUGHN: You’ve only got three cover adds.
CHRIS NEUMER: That’s what I’m saying. It’s nice.…
Writer/director Michael Wilson is in a very unusual place: he is in the midst of a heated bidding war for his first film... and he isn't close to being done with it yet. These are the benefits of making a documentary called
Michael Moore Hates America. Chris Neumer talks to the not-quite-yet rookie filmmaker to get this one-of-a-kind story.
There isn't another actor in Hollywood who plays more of a variety of characters that women do not want to date than Nat Faxon. Chris Neumer chats with Faxon about acting, writing comedy and the fear-based decisions that dictate what films and television shows get made.
French writer/director Patrice Chereau has a wonderful new film out,
Intimacy, that investigates the unique nature of relationships. Only, no one is talking about that. They're only talking about the blowjob scene. Chris Neumer talks to Chereau to get the low down on the movie, its origins and, yes, its sexual content.
Writer/director Richard Kelly tapped into the zeitgeist of American culture in his debut project
Donnie Darko. Critically acclaimed and almost universally loved, Kelly talks to Chris Neumer about the stresses of being an extremely young director, why Drew Barrymore is a life-saver and the challenges of marketing one of the most unusual films in recent memory.
In the century that film critics have been writing about and dissecting the value of film, only one of this elite group of writers, one of a group of generally talented critics, has ever trademarked his thumb: Roger Ebert. With …
CHRIS NEUMER: Yup, the last interview we did was 10 years ago… and by phone.
TODD SOLONDZ: Wow.
CHRIS NEUMER: I realized that I don’t think I’ve ever seen you smile either. So I was looking forward to that too. …
Todd Solondz is one of the film world's most off-beat writer/directors. He is the only filmmaker Chris Neumer has ever spoken with who professes an utter disdain for his line of work. "Some people love the process of making a film," Solondz states in his near trademarked, high-pitched voice, "I just don’t happen to be one of them." Neumer investigates.