<?xml version='1.0' encoding='UTF-8'?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/'><id>tag:blogger.com,1999:blog-5576853310755582182</id><updated>2008-05-05T10:39:19.946-04:00</updated><title type='text'>The Director Interviews</title><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/index.php'/><link rel='next' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default?start-index=26&amp;max-results=25'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default'/><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml'/><author><name>Webmaster</name></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>60</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-5240726734696674418</id><published>2008-05-07T10:37:00.000-04:00</published><updated>2008-05-05T10:39:20.040-04:00</updated><title type='text'>NICK BROOMFIELD, BATTLE FOR HADITHA</title><summary type='text'>

Immediately distinguishable by his understated good looks, laid-back, drawling English voice and, of course, the boom mike seemingly always in his hands, Nick Broomfield is an iconic figure in documentary filmmaking, as well as one of the form’s most talented artists. The son of English photographer Maurice Broomfield and a Czech refugee, Broomfield went to a Quaker boarding school before </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/05/nick-broomfield-battle-for-haditha.php' title='NICK BROOMFIELD, &lt;i&gt;BATTLE FOR HADITHA&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=5240726734696674418' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5240726734696674418'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5240726734696674418'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-1579274393898835348</id><published>2008-05-02T14:41:00.008-04:00</published><updated>2008-04-30T09:46:32.052-04:00</updated><title type='text'>GARTH JENNINGS, SON OF RAMBOW</title><summary type='text'>

When you meet Garth Jennings, it is immediately apparent where much of the energy, enthusiasm and imagination in his films comes from. The effervescent Jennings, born in Essex, England in 1972, attended the Central St. Martin's College of Art &amp; Design in London where he met Nick Goldsmith with whom he formed the creative partnership Hammer &amp; Tongs. Though the pair have always collaborated </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/05/garth-jennings-son-of-rambow.php' title='GARTH JENNINGS, &lt;i&gt;SON OF RAMBOW&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=1579274393898835348' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/1579274393898835348'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/1579274393898835348'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-4088279776485544909</id><published>2008-04-25T13:35:00.011-04:00</published><updated>2008-04-23T00:06:01.065-04:00</updated><title type='text'>YUNG CHANG, UP THE YANGTZE</title><summary type='text'>

At a time when the popularity of documentaries is at an all-time high, Canadian director Yung Chang is not only telling stories as compelling as his peers', but doing so with a truly cinematic sensibility that is often lacking in his field. Born in Whitby, Ontario, to first generation Chinese immigrant parents, Chang studied film production at Concordia University, graduating in 1999. He was </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/04/yung-chang-up-yangtze.php' title='YUNG CHANG, &lt;i&gt;UP THE YANGTZE&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=4088279776485544909' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4088279776485544909'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4088279776485544909'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-6560510829369036200</id><published>2008-04-18T14:18:00.007-04:00</published><updated>2008-04-30T09:47:46.530-04:00</updated><title type='text'>SCOTT HICKS, GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS</title><summary type='text'>PHILIP GLASS IN DIRECTOR SCOTT HICKS' GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS. COURTESY KOCH LORBER FILMS.

Best known for his fiction films, Scott Hicks has returned to another form in which he has also distinguished himself: documentary. Usually identified as an Australian, Hicks was in fact born in Uganda and lived in Kenya until the age of 10, before his family moved to England and then  </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/04/scott-hicks-glass-portrait-of-philip-in.php' title='SCOTT HICKS, &lt;i&gt;GLASS: A PORTRAIT OF PHILIP IN TWELVE PARTS&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=6560510829369036200' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6560510829369036200'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6560510829369036200'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-5464705127151699920</id><published>2008-04-09T14:18:00.010-04:00</published><updated>2008-04-22T23:43:00.884-04:00</updated><title type='text'>STEPHEN WALKER, YOUNG@HEART</title><summary type='text'>THE YOUNG@HEART CHORUS IN DIRECTOR STEPHEN WALKER'S YOUNG@HEART. COURTESY FOX SEARCHLIGHT PICTURES.

Television directors often go through their careers dreaming of striking cinematic gold like Stephen Walker has. The 46-year-old Brit is a veteran of the small screen who plied his trade at the BBC before setting up his own production company, Walker George Films, with his producer and life </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/04/stephen-walker-youngheart.php' title='STEPHEN WALKER, &lt;i&gt;YOUNG@HEART&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=5464705127151699920' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5464705127151699920'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5464705127151699920'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-4169821411495604782</id><published>2008-04-04T11:08:00.006-04:00</published><updated>2008-04-16T01:17:01.677-04:00</updated><title type='text'>ETGAR KERET AND SHIRA GEFFEN, JELLYFISH</title><summary type='text'>NICOLE LEIDMAN AND SARAH ADLER IN ETGAR KERET AND SHIRA GEFFEN'S JELLYFISH. COURTESY ZEITGEIST FILMS.

After proving their mastery of the written word, Israel's first couple of literature, Etgar Keret and Shira Geffen, have now turned their attention to film. Keret was born in 1967 in Tel Aviv, Israel, and started writing in 1992. He has since written graphic novels, plays and children's books, </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/04/etgar-keret-and-shira-geffen-jellyfish.php' title='ETGAR KERET AND SHIRA GEFFEN, &lt;i&gt;JELLYFISH&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=4169821411495604782' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4169821411495604782'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4169821411495604782'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7298024984956364201</id><published>2008-03-26T23:25:00.011-04:00</published><updated>2008-04-07T11:24:16.708-04:00</updated><title type='text'>JEFF NICHOLS, SHOTGUN STORIES</title><summary type='text'>DOUGLAS LIGON, MICHAEL SHANNON AND BARLOW JACOBS IN WRITER-DIRECTOR JEFF NICHOLS' SHOTGUN STORIES. COURTESY INTERNATIONAL FILM CIRCUIT AND LIBERATION ENTERTAINMENT.

The North Carolina School of the Arts film program has, during its relatively short existence, produced a wealth of cinematic talent. Prominent alums includes writer-directors David Gordon Green, Craig Zobel, Michael Tully, Aaron </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/03/jeff-nichols-shotgun-stories.php' title='JEFF NICHOLS, &lt;i&gt;SHOTGUN STORIES&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7298024984956364201' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7298024984956364201'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7298024984956364201'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7952625296503571252</id><published>2008-03-21T23:22:00.011-04:00</published><updated>2008-04-02T00:43:23.978-04:00</updated><title type='text'>CHRISTOPHE HONORÉ, LOVE SONGS</title><summary type='text'>LUDIVINE SAGNIER, CLOTILDE HESME AND LOUIS GARREL IN DIRECTOR CHRISTOPHE HONORÉ'S LOVE SONGS. COURTESY IFC FILMS AND RED ENVELOPE ENTERTAINMENT.

Occasionally a filmmaker comes along who truly remind us why we love cinema. Christophe Honoré is not only one of those people, but also finds multiple other ways of expressing his seemingly endless creativity. He was born in Finistere (literally “The </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/03/christophe-honor-love-songs.php' title='CHRISTOPHE HONORÉ, &lt;i&gt;LOVE SONGS&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7952625296503571252' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7952625296503571252'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7952625296503571252'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7038580861949858050</id><published>2008-03-14T23:20:00.009-04:00</published><updated>2008-03-31T00:58:54.171-04:00</updated><title type='text'>MICHAEL HANEKE, FUNNY GAMES U.S.</title><summary type='text'>NAOMI WATTS AND TIM ROTH WITH UNWELCOME VISITORS MICHAEL PITT AND BRADY CORBETT IN DIRECTOR MICHAEL HANEKE'S FUNNY GAMES U.S. COURTESY WARNER INDEPENDENT PICTURES.

Michael Haneke is a director who makes films strictly on his terms, and — as his new movie demonstrates — writes his own rules if he doesn’t like the existing ones. The son of an actor-director father and an actress mother, Haneke was</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/03/michael-haneke-funny-games-us.php' title='MICHAEL HANEKE, &lt;i&gt;FUNNY GAMES U.S.&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7038580861949858050' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7038580861949858050'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7038580861949858050'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-1992237691669881396</id><published>2008-03-05T17:04:00.001-05:00</published><updated>2008-03-19T12:02:41.029-04:00</updated><title type='text'>LUCY WALKER, BLINDSIGHT</title><summary type='text'>BLIND CLIMBER DACHUNG IN DIRECTOR LUCY WALKER'S BLINDSIGHT. COURTESY ROBSON ENTERTAINMENT.

The projects Lucy Walker has chosen to take on in her career demonstrate an admirable desire to tell difficult and important stories. The British documentarian was born and raised in London, and during her childhood lost the sight in one of her eyes. However, if anything this only further fueled her </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/03/lucy-walker-blindsight.php' title='LUCY WALKER, &lt;i&gt;BLINDSIGHT&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=1992237691669881396' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/1992237691669881396'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/1992237691669881396'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-2613140482331398561</id><published>2008-02-27T14:12:00.008-05:00</published><updated>2008-03-12T01:25:14.669-04:00</updated><title type='text'>RAMIN BAHRANI, CHOP SHOP</title><summary type='text'>ALEJANDRO POLANCO IN DIRECTOR RAMIN BAHRANI'S CHOP SHOP. COURTESY KOCH LORBER FILMS.

Ramin Bahrani's films are what one could term “outsider cinema,” and yet they are made with the quiet confidence of someone who knows he belongs. Iranian-American Bahrani was born and raised in Winston-Salem, North Carolina, and moved to New York to study film at Columbia University. After making the short films</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/02/ramin-bahrani-chop-shop.php' title='RAMIN BAHRANI, &lt;i&gt;CHOP SHOP&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=2613140482331398561' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/2613140482331398561'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/2613140482331398561'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-3835466303573577796</id><published>2008-02-22T14:07:00.012-05:00</published><updated>2008-03-05T09:06:21.877-05:00</updated><title type='text'>STEFAN RUZOWITZKY, THE COUNTERFEITERS</title><summary type='text'>AUGUST DIEHL, KARL MARKOVICS, VEIT STÜBNER AND AUGUST ZIRNER IN DIRECTOR STEFAN RUZOWITZKY'S THE COUNTERFEITERS. COURTESY SONY PICTURES CLASSICS.



It is the natural desire of critics to put films and their directors into neat categorizations, and yet there are some directors, such as Stefan Ruzowitzky, whose work simply cannot be summed up in a simple all-encompassing description. Born in </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/02/stefan-ruzowitzky-counterfeiters.php' title='STEFAN RUZOWITZKY, &lt;i&gt;THE COUNTERFEITERS&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=3835466303573577796' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3835466303573577796'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3835466303573577796'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-4470431575069202340</id><published>2008-02-15T23:45:00.006-05:00</published><updated>2008-02-25T08:59:12.482-05:00</updated><title type='text'>GEORGE A. ROMERO, DIARY OF THE DEAD</title><summary type='text'>JOSHUA CLOSE MAKES HIS VERITÉ ZOMBIE MOVIE IN DIRECTOR GEORGE A. ROMERO'S DIARY OF THE DEAD. COURTESY THE WEINSTEIN COMPANY.

No matter how you look at it, George A. Romero will always be remembered as the godfather of the zombie movie. Born in 1940 in New York City, Romero graduated from Carnegie Mellon in the early 60s and stayed in Pittsburgh to set up a commercial production company. In 1968,</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/02/george-romero-diary-of-dead.php' title='GEORGE A. ROMERO, &lt;i&gt;DIARY OF THE DEAD&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=4470431575069202340' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4470431575069202340'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4470431575069202340'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-382232921284044493</id><published>2008-02-08T14:08:00.001-05:00</published><updated>2008-02-19T23:50:21.663-05:00</updated><title type='text'>PAUL ANDREW WILLIAMS, LONDON TO BRIGHTON</title><summary type='text'>LORRAINE STANLEY AND GEORGIA GROOME IN DIRECTOR PAUL ANDREW WILLIAMS' LONDON TO BRIGHTON. COURTESY OUTSIDER PICTURES.

A rare handful of people are born to make movies, and new British writer-director Paul Andrew Williams is undoubtedly one of those few. Born in 1973 in the Southern coastal town of Portsmouth, Williams initially studied as an actor at LAMDA and spent the latter part of the 1990s </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/02/paul-andrew-williams-london-to-brighton.php' title='PAUL ANDREW WILLIAMS, &lt;i&gt;LONDON TO BRIGHTON&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=382232921284044493' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/382232921284044493'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/382232921284044493'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-3785600044513390505</id><published>2008-02-01T13:37:00.002-05:00</published><updated>2008-02-13T09:17:24.870-05:00</updated><title type='text'>NADINE LABAKI, CARAMEL</title><summary type='text'>WRITER-DIRECTOR-STAR NADINE LABAKI IN A SCENE FROM CARAMEL. COURTESY ROADSIDE ATTRACTIONS.

As role models, few filmmakers are more inspirational than Nadine Labaki. On top of the inherent difficulty of succeeding as a writer-director, Labaki grew up in Lebanon's war-ravaged capital, Beirut, in a Middle Eastern culture where women are essentially second-class citizens. However, Labaki's passion </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/02/nadine-labaki-caramel.php' title='NADINE LABAKI, &lt;i&gt;CARAMEL&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=3785600044513390505' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3785600044513390505'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3785600044513390505'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-3228088300652676239</id><published>2008-01-23T23:34:00.000-05:00</published><updated>2008-02-06T12:57:25.944-05:00</updated><title type='text'>CATHERINE OWENS, U2 3D</title><summary type='text'>BONO AND THE EDGE IN CATHERINE OWENS AND MARK PELLINGTON'S U2 3D. COURTESY NATIONAL GEOGRAPHIC ENTERTAINMENT.

Though her body of work is famous, Catherine Owens — the woman behind the visual design of U2's legendary stadium tours of the past 15 years — until now has maintained a much lower profile. Beginning with the band's revolutionary ZooTV tour in 1992, Irish artist Owens used her expertise </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/01/catherine-owens-u2-3d.php' title='CATHERINE OWENS, &lt;i&gt;U2 3D&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=3228088300652676239' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3228088300652676239'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3228088300652676239'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-6310110798458556146</id><published>2008-01-18T13:16:00.000-05:00</published><updated>2008-01-30T00:24:09.976-05:00</updated><title type='text'>BRYAN GUNNAR COLE, DAY ZERO</title><summary type='text'>CHRIS KLEIN, JON BERNTHAL AND ELIJAH WOOD IN DIRECTOR BRYAN GUNNAR COLE'S DAY ZERO. COURTESY FIRST LOOK PICTURES.

It is common for directors to have a background in theater, documentary filmmaking or editing, but Bryan Gunnar Cole is almost unique for having made a mark in all three fields. Cole was one of the founders of the Annex Theatre, a fringe company based in his native Seattle which </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/01/bryan-gunnar-cole-day-zero.php' title='BRYAN GUNNAR COLE, &lt;i&gt;DAY ZERO&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=6310110798458556146' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6310110798458556146'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6310110798458556146'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-6425469996027802781</id><published>2008-01-09T20:32:00.000-05:00</published><updated>2008-01-21T08:28:14.541-05:00</updated><title type='text'>ABBY EPSTEIN, THE BUSINESS OF BEING BORN</title><summary type='text'>AN EXPECTANT MOTHER IN DIRECTOR ABBY EPSTEIN'S THE BUSINESS OF BEING BORN. COURTESY RED ENVELOPE ENTERTAINMENT.

After years as a theater director, Abby Epstein has transitioned into being one of the most important new female voices in documentary film. Epstein began directing plays in the 1980s in Chicago where she started her own theater company, Roadworks Productions. In the late 1990s, she </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/01/abby-epstein-business-of-being-born.php' title='ABBY EPSTEIN, &lt;i&gt;THE BUSINESS OF BEING BORN&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=6425469996027802781' title='4 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6425469996027802781'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/6425469996027802781'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7622252585286838256</id><published>2008-01-02T11:19:00.000-05:00</published><updated>2008-01-15T23:51:53.695-05:00</updated><title type='text'>ANDREW PIDDINGTON, THE KILLING OF JOHN LENNON</title><summary type='text'>JONAS BALL AS MARK CHAPMAN IN DIRECTOR ANDREW PIDDINGTON'S THE KILLING OF JOHN LENNON. COURTESY IFC FILMS.

After spending the majority of his career working in television, 54-year-old Brit Andrew Piddington has committed the rest of his career to being an independent film director. He began his career working with poetic filmmaker Brian Lewis in 1980, and directed his first solo project as a </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2008/01/andrew-piddington-killing-of-john.php' title='ANDREW PIDDINGTON, &lt;i&gt;THE KILLING OF JOHN LENNON&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7622252585286838256' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7622252585286838256'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7622252585286838256'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-5599839780841848486</id><published>2007-12-28T11:13:00.000-05:00</published><updated>2008-01-07T01:27:21.186-05:00</updated><title type='text'>JUAN ANTONIO BAYONA, THE ORPHANAGE</title><summary type='text'>THE GHOSTLY TOMÁS (ÓSCAR CASAS) IN DIRECTOR JUAN ANTONIO BAYONA'S THE ORPHANAGE. COURTESY PICTUREHOUSE.

Though he looks and dresses like he's still a teenager, behind Juan Antonio Bayona's youthful appearance hides a mature and sophisticated cinematic sensibility. The 32-year-old Barcelona native has a passion for movies that first led him to become a precocious journalist, and then to study </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/12/juan-antonio-bayona-orphanage.php' title='JUAN ANTONIO BAYONA, &lt;i&gt;THE ORPHANAGE&lt;/I&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=5599839780841848486' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5599839780841848486'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/5599839780841848486'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-8385500217419633956</id><published>2007-12-21T19:09:00.000-05:00</published><updated>2008-01-03T23:46:39.933-05:00</updated><title type='text'>JAKE KASDAN, WALK HARD: THE DEWEY COX STORY</title><summary type='text'>JENNA FISCHER AND JOHN C. REILLY IN DIRECTOR JAKE KASDAN'S WALK HARD: THE DEWEY COX STORY. COURTESY COLUMBIA PICTURES.

Our perception of a director hinges heavily on the most recent film they've made. Jake Kasdan's last movie, The TV Set, was a smart, sardonic satire of the process of creating a hit series that drew on Kasdan's own bitter experiences in network television. Though Kasdan had </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/12/jake-kasdan-walk-hard-dewey-cox-story.php' title='JAKE KASDAN, &lt;I&gt;WALK HARD: THE DEWEY COX STORY&lt;/I&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=8385500217419633956' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/8385500217419633956'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/8385500217419633956'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7328072607831661632</id><published>2007-12-14T21:31:00.000-05:00</published><updated>2008-01-03T23:44:48.796-05:00</updated><title type='text'>ESTHER ROBINSON, A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY</title><summary type='text'>ANDY WARHOL AND DANNY WILLIAMS IN DIRECTOR ESTHER ROBINSON'S A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY. COURTESY ARTHOUSE FILMS.

Esther Robinson has an effusive passion for cinema that is infectious, and has led her to dedicate her career to helping artists and filmmakers. She studied film and television at NYU's Tisch School for the Arts, and at the age of only 24 produced </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/12/esther-robinson-walk-into-sea-danny.php' title='ESTHER ROBINSON, &lt;i&gt;A WALK INTO THE SEA: DANNY WILLIAMS AND THE WARHOL FACTORY&lt;/I&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7328072607831661632' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7328072607831661632'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7328072607831661632'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-4951861899608940351</id><published>2007-12-07T11:14:00.001-05:00</published><updated>2007-12-19T08:38:33.675-05:00</updated><title type='text'>JENNIFER VENDITTI, BILLY THE KID</title><summary type='text'>BILLY PRICE, THE STAR OF DIRECTOR JENNIFER VENDITTI'S DOCUMENTARY BILLY THE KID.COURTESY ELEPHANT EYE FILMS.

You might say that Jennifer Venditti is a people person. After starting out as a fashion stylist, she moved on to casting where she distinguished herself as someone with an eye for the unconventional as well as the beautiful. In 1998, she started JV8inc, a New York-based casting company </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/12/jennifer-venditti-billy-kid.php' title='JENNIFER VENDITTI, &lt;i&gt;BILLY THE KID&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=4951861899608940351' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4951861899608940351'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/4951861899608940351'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-3296401308136602427</id><published>2007-11-30T12:55:00.000-05:00</published><updated>2007-12-12T08:04:17.659-05:00</updated><title type='text'>FRANK CAPPELLO, HE WAS A QUIET MAN</title><summary type='text'>CHRISTIAN SLATER IN DIRECTOR FRANK CAPPELLO'S HE WAS A QUIET MAN. COURTESY MITROPOULOS FILMS.

Whether he's writing, directing, creating special effects, playing music, or simply recounting anecdotes, Frank Cappello seems to have a compulsive need to entertain. He honed his storytelling skills as a kid reading out his imagined motocross adventures to classmates, and then spent years  writing spec</summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/11/frank-cappello-he-was-quiet-man.php' title='FRANK CAPPELLO, &lt;i&gt;HE WAS A QUIET MAN&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=3296401308136602427' title='1 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3296401308136602427'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/3296401308136602427'/><author><name>Nick Dawson</name></author></entry><entry><id>tag:blogger.com,1999:blog-5576853310755582182.post-7030700545392417053</id><published>2007-11-21T17:43:00.000-05:00</published><updated>2007-12-05T01:46:07.174-05:00</updated><title type='text'>CRISPIN HELLION GLOVER, IT IS FINE! EVERYTHING IS FINE.</title><summary type='text'>STEVEN C. STEWART AND CARRIE SZLASA IN DIRECTOR CRISPIN HELLION GLOVER'S IT IS FINE! EVERYTHING IS FINE.

Put simply, Crispin Glover is not from here: there is an otherworldly quality to the actor-turned-director's appearance, manner and aesthetics that make even his friend and mentor David Lynch seem pretty normal. The son of actors Bruce and Marie Glover, he came to prominence in the mid-1980s </summary><link rel='alternate' type='text/html' href='http://filmmakermagazine.com/directorinterviews/2007/11/crispin-hellion-glover-it-is-fine.php' title='CRISPIN HELLION GLOVER, &lt;i&gt;IT IS FINE! EVERYTHING IS FINE.&lt;/i&gt;'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=5576853310755582182&amp;postID=7030700545392417053' title='0 Comments'/><link rel='replies' type='application/atom+xml' href='http://filmmakermagazine.com/directorinterviews/atom.xml' title='Post Comments'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7030700545392417053'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/5576853310755582182/posts/default/7030700545392417053'/><author><name>Nick Dawson</name></author></entry></feed>