Interviews & Profiles

Filmmaker Magazine
Dressing for Business: Costume Designer Mitchell Travers on the Sharp Period Style of Lorene Scafaria’s Hustlers
“This Was Like Designing for Six Different Leads and Six Different Backgrounds”: Costume Designer Mary Zophres on The Ballad of Buster Scruggs

Yuppies on Film: A Conversation with Director Whit Stillman
How Photographer Marco Glaviano Helped Create the Supermodel

How I Make It: Star Trek: Discovery Costume Designer Gersha Phillips

From Sponsored Movies to Coming-of-Age Classics: Bill Forsyth Talks About Pioneering Scottish Cinema
Joan Tewkesbury: Do It Louder and Bigger
Revisiting a Female Adolescence with Diane Kurys and Peppermint Soda

No Film School
Defining the Cinematic Language of Intimacy: Adina Pintilie on Touch Me Not
How Sophia Takal Became Blumhouse’s First Female Director
“Clearly Journalism Wasn’t Going to Work”: Sacha Gervasi on My Dinner With Hervé

The Queen of Costuming: Meet Marilyn Vance, the Woman Who Clothed the Rebeller Canon

The Village Voice
Anne Carlisle Looks Back at Her Electrifying Dual-Role Turn in the New Wave Classic Liquid Sky
Amy Seimetz Talks the Alien Aesthetic of the New Season of The Girlfriend Experience

Isabelle Huppert Isn’t Interested in Your Ideas of the “French Woman”

Cherry Picks
How Actress Mary Kay Place and Producer Caroline Kaplan Centered a Woman’s Experiences in Kent Jones’s Diane
The Competition Director Claire Simon on Sexism in the Film Industry

Lucia Aniello Wants You To Know That Rough Night Is Not What You Think It Is
At Home With Amy Sedaris Captures Its Host’s Inimitable Spirit

Princess Cyd Is a Queer Coming-of-Age Film Designed to “Confuse Straight Girls,” Director Says

Brooklyn Magazine
An Atmosphere of Magic: Talking to Anna Biller About The Love Witch
Ten Minutes with Zoe Kazan

Tatiana Maslany on Working with Her Real-Life Partner in The Other Half
Seth Rogen on What Food He’d Eat in Sausage Party