My second piece about “First Cow.” You could call it: “Second ‘First Cow’ Piece.”
The director of one of the best movies of the year was kind enough to talk to me about making a “timely” movie that’s actually timeless.
Handsome, clever, rich, and also so unpleasant in such fundamental ways that the person portraying her doesn’t even like her.
And now, a moment to acknowledge the uglier side of making music in Nashville when you’re a woman: Sexism. Good thing no one’s having it anymore.
More goodness from Nashville, delivered right into your face!
In which Trey and Andy go for the turkey and talk about Trey’s third movie. Never let it be said that critics don’t have their favorites.
Andy dips his toes into the world of sex work, and also books, the former a subject of new, genuine interest, the latter a constant struggle in time management, which is kinda funny because…Andy is a writer.
Note: “Worse” as in “worse for the people who make movies with him,” because “The Lighthouse” owns very, very hard.
Nervous about talking to filmmakers whose last movie left you kind of cold? No problem, especially when their new one is pretty rad!
There’s about a 99% chance that tigers wrote the title for this film, but I’m not going to be the one to call them on it.
Lying about your grandma’s mortality seems like a bad idea, except when the bad idea ends up forming the basis of a really good movie.
Good, patiently executed scares are a gift from the movie gods, and so’re opportunities to hash it out with the people responsible for putting those scares together.
One easily distracted ADD person + one other easily distracted ADD person = a very good conversation about the endless intersections between the act of creation.
Not the Kiernan Shipka version of “hail Satan!”, but a kinder, gentler, more politically conscious version.
Andy becomes an authority on race car driving in the blink of an eye just by talking to Hurley Haywood and Patrick Dempsey. (Note: Andy is not by any means an authority on race car driving.)
Andy tries to get an honest answer out of a filmmaker about the perils of casting a controversial figure in their movie, and he is sort of embarrassed for it.
Andy interviews an Argentine-born French filmmaker whose work he’s followed since 2002, and ends up looking kinda foolish but it all works out in the end.
A chat with one of the best actors out there about process, trust, and one of the most pervasive social and political issues of our day, that of America’s original sin.
Not “gelato.” “Giallo.” You know, that most famous of Italian sub-genres where a killer goes around killing people? Nicolas Pesce’s new movie, “Piercing,” is all about the giallo. And apparently a bunch of other genres, too.
Should fate ever afford you chance to speak with Chris Morgan, do, and make sure you’ve more than 20 minutes to talk to him: He’s a talker! And a good talker! I say this a lot, but I honestly could have talked all day with Morgan about movies and storytelling, which probably explains his vocation …