Q&A: BAI LING
I am somewhat embarrassed to say that I did not know exactly why I was to meet the actress Bai…
Making Films
Q/A: Terrence Howard
There was one good thing about Malcolm Lee’s 1999 studio film The Best Man: Terrence Howard. I wrote a review…
Good Lord, Not Another Artsy Film
I am Marc Vogl, a 30-something East Coast kid who came out to San Francisco in the 90s following a…
Behind the Spin
There is a mystique to filmmaking—the silvery light that reflects off the screen, the way the story shapes a character’s…
What a Long, Freaky Head-Trip It’s Been
“Get on the ground, motherfuckers,” declares Wayne Coyne, directing two somewhat confused kids to lie on their chests in the…
Effie Brown
“A hybrid of a hippie commune and capitalism,” is how revered indie film producer Effie Brown describes the goal of…
Gregg Araki Gets Mysterious
Gregg Araki is George Bush’s worst nightmare. In Araki’s parallel cinematic universes, the mainstream is subverted, what the right wing…
This Revolution
In June 2004, I watched Ted Demme’s inspirational profile of 70s filmmakers, A Decade Under the Influence, which is basically…
Woman, Thou Art Loosed
Is America ready for gospel cinema? Independent producer Reuben Cannon thinks so. The former veteran casting director sees a vast,…