All the Worldâs a Soundstage for the Writer-Director-Star
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âSlipstreamâ is Anthony Hopkinsâs third film as a director and his first as a quasi-avant-garde filmmaker working well outside the mainstream.
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Zoya Akhtar talks about her involvement in every kind of filmmaking.
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Dev Anand is at a peak in his life where everything and everyone seems a speck. So many memories and so much of the life-force squeezed into one large miscroscopic view of the entire universe that it becomes impossible to tell the dancer apart from the dance.
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Among hardcore film  fans, movie directors have become the equivalent of rock stars.
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An interview with the master filmmaker about his new films.
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Martin McDonaghâs plays have won wide acclaim, but he had filmmaking in mind all along.
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Vinta Nanda's offbeat film White Noise was premiered at the Kara Film Festival. And the response it received at the event was tremendous.
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"Legong: Dance of the Virgins" is a delirious blend of sentimental fiction and ethnological fact. Also, Orson Welles's "It's All True" and "Spider-Man 2."
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By compelling audiences to listen more closely, âNo Country for Old Menâ has had the effect of calling attention to an underappreciated aspect of filmmaking: the use of sound.
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David Brudnoy&#39;s voice has filled the cars and kitchens of the everyday and the elite for nearly three decades, his thoughts shaping the way tens of thousands of listeners view the world beyond their doors.
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Global politics, seniors in love, fantastical fairy tales, technical glitches and the Weinstein brothers
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Among the five Academy Award directing nominees, one name seems to be on everyone's lips: Martin Scorsese.
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The Toronto International Film Festival has developed a status in recent years as the curtain-raiser to Oscar season, when trophy-hungry directors premier their late-season star-studded epics, biopics, and dramas.
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The actor-singer-composer has signed three movies.
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When your script-writing  resume has Oscar-winning "American Beauty" on it, never mind  HBO's much-loved "Six Feet Under," expectations run unfairly  high for each subsequent project. That is Alan Ball's dilemma,  and perhaps the reason that his return to playwriting, "All  That I Will Ever Be," is a bit of a disappointment.
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Mike Leighâs play âTwo Thousands Yearsâ is enjoyable, but oddly conceived and structured.
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LOS ANGELES  - A struggling screenwriter who was on the verge of quitting the business a few years ago is now juggling three high-profile Hollywood projects and working alongside noted directors such as Rob Reiner and Jon Turteltaub.