InterviewsLet’s chat with some creative people!
Executive Producer Suzanne Lavery on the Search for Connection in Apple TV’s “Twisted Yoga”
The story of Twisted Yoga is still ongoing, which is not often the case for subjects of a documentary. Executive Producer Suzanne Lavery didn’t come across this story in a typical fashion either.
Grace Van Dien Talks Life on the Run in “Silver Star”
Grace Van Dien is a pregnant teenager on the run in the upcoming Silver Star. It’s a good, old-fashioned American road trip movie that centers on two characters who are rarely given the opportunity to sit in the driver’s seat of a film like this.
SXSW '26: Composer Jordan Siegel Talks Emotionality in “See You When I See You”
Composer Jordan Seigel worked with Jay Duplass on both The Baltimorons and See You When I See You. For both, Seigel had a quick turnaround time.
SXSW '26: Victoria Trow and Kaylee Kotkins Talk the Burp Heard ’Round the World in “Eructation”
In Victoria Trow’s SXSW world-premiering documentary short, Eructation, Kaylee Kotkins believes she has put together the winning recipe to defeat the current Guinness World Record entry for loudest female burp.
Emma Higgins and Herman Tømmeraas Talk Teenage Obsession in “Sweetness”
Writer/director Emma Higgins describes the ideal viewer of her debut film, Sweetness, as someone who has “shaved [their] entire body before a concert just in case.
Slamdance ’26: Mechi Lakatos and Lucy Sandler Talk Improvised Madness of “Danny Is My Boyfriend”
Mechi Lakatos and Lucy Sandler are the mad geniuses behind Danny Is My Boyfriend. It’s a delightfully lo-fi odyssey across Los Angeles in pursuit of revenge.
Slamdance ’26: Writer/Director Jessica Barr Talks Millennial Frustration in “The Plan”
Writer/director Jessica Barr decided to take the planning to another level with her Slamdance-premiering The Plan. The entire film is an unbroken pressure cooker of a single take that captures Barr’s own frustrations about the state of the world.
"It’s Just Me and My Punk Friend Gore" - Geoff Zanelli on Good Luck, Have Fun, Don't Die Score
Gore Verbinski is one of those absolutely gonzo filmmakers behind visually immersive heavy hitters. All those pale in comparison to his newly released futuristic, anti-AI comedy, Good Luck, Have Fun, Don’t Die. He brought on frequent collaborator Geoff Zanelli to compose the score.
Composer Mac Quayle Finds Grotesque Grittiness in “The Beauty” Score
The Beauty is a blend of extreme body horror and Fincher-esque crime investigations. It’s composer Mac Quayle’s job to find the common thread between these two worlds.
Composer Craig Wedren Breaks Down LA Musical Odyssey in “Gail Daughtry and the Celebrity Sex Pass”
Twenty-five years ago, the rambunctious cast and crew of Wet Hot American Summer stormed Sundance. The movie was the brainchild of David Wain and Michael Showalter. When Wain was looking for someone to write music for Wet Hot American Summer, it seemed like a no-brainer to call upon his childhood friend, Craig Wedren.
Cinematographer Ashley Barron, ACS Blends Spielberg and Lynch in How to Get to Heaven from Belfast
What do you get when you mix the visual style of Twin Peaks and Steven Spielberg? The answer is Lisa McGee’s How to Get to Heaven from Belfast. In order to start the visuals of the series on the right foot, McGee called upon cinematographer Ashley Barron.
Meet the People Behind the Resurgence of Filmmaker-Focused Distribution: Billy Ray Brewton and Ryan Verrill of Antenna Releasing
Cofounded by Ryan Verrill, Francis Galluppi, and Billy Ray Brewton, Antenna Releasing is a filmmaker-focused distribution company. To Antenna Releasing, distribution means that both theatrical and physical media are done in a way that’s thoughtful and respects the effort of those who made the film.
Oscar Nominees Thomas Foldberg and Anne Cathrine Sauerberg Break Down Gruesome The Ugly Stepsister Looks
In the Best Makeup and Hairstyling Award category, another horror movie, Emilie Blichfeldt’s The Ugly Stepsister, seeks Oscar gold. Prosthetic Makeup Effects Designer Thomas Foldberg and Hair and Makeup Designer Anne Cathrine Sauerberg are the duo behind the nomination.
Helen Macdonald and Philippa Lowthorpe Talk Grief’s Journey in H is for Hawk
“When you lose someone, quite often your subconscious pushes you toward something very bad for you,” Macdonald begins. “In my case, it was a goshawk.”
Sundance ’26: Writer/Director Lily Platt Tackles Drama Addiction in Crisis Actor
The snow is falling and the final outing of the Sundance Film Festival in Park City, Utah, is upon us. Present for the festival’s final bow is writer/director Lily Platt. Her debut short film, Crisis Actor, was selected as part of the 2026 program and will screen in the Short Film Program 4 block.
VFX Supervisor Eran Dinur Brings '50s NYC to Life in Marty Supreme
VFX supervisor Eran Dinur agrees that special effects have the ability to transport the viewer to a place they could never go. In the case of his latest project, Marty Supreme, that place is the 1950s.
Composer Emilie Levienaise-Farrouch Talks Soaring Score in “H is for Hawk”
Emilie Levienaise-Farrouch’s score for the upcoming film, H Is for Hawk, has to find a balance between humans and nature through its music.
Lovell Holder Talks Time and Identity in Debut Novel “The Book of Luke”
Writer Lovell Holder is a lover of reality television, and it’s in this world of competition, identity politics, and national attention that he set his first novel, The Book of Luke.
Chase Hudson and Sara Waisglass Talk Rom Com Tropes in “How to Lose a Popularity Contest”
How to Lose a Popularity Contest is the new Tubi young adult romantic comedy starring Sara Waisglass and Chase Hudson. Waisglass plays Ellie, an academic-focused high schooler who has resigned herself to a life of unpopularity. Hudson is Nate, a popular underachiever who coasts through all his challenges with a charming smile and floppy bangs.
Rebecca Dealy Talks Casting the Teen Boys in “The Plague”
In order to make The Plague work, casting director Rebecca Dealy needed to find a group of boys capable of handling the weight of Polinger’s script.