Michael Caton-Jones is a director who appreciates family stories and stories about manhood. Known for films like ‘The Jackal,’ ‘Rob Roy,’ ’This Boy’s Life,’ ‘Doc Hollywood,’ ‘Memphis Belle,’ and ‘Beyond the Gates,’ the Scottish director is passionate about making iconic dramas.

In his new film, ‘Asher,’ Ron Perlman stars in the title role, opposite Richard Dreyfus and Famke Janssen. According to the official description, “ An aging hitman's last job goes sideways, forcing him to redeem himself.”

In this exclusive interview, the director talks about movies for men, father-son relationships, how to make dramas in today's Hollywood, and loosening up on the throttle to let the filmmaking process take over.

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Robert D. Krzykowski appreciates movies that are entertaining, but still say something. Over the past decade, he’s been working as a storyteller, creating shorts, producing films, and writing as a journalist.

In his directorial debut, the creative has combined science fiction, fantasy, and historical fiction in a mythic way. In ‘The Man Who Killed Hitler and Then The Bigfoot,’ icon Sam Elliott stars as “A legendary American war veteran who is recruited to hunt a mythical creature.”

In this interview, the writer-director discusses the importance of a character with regret, his fascination with Mr. Rogers, storyboarding various timelines with intent, not being too rigid with an independent film, and his passion for the paranormal.

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Jonathan Alter is an award-winning author, reporter, columnist, radio host and television producer and analyst. He is the author of three New York Times bestsellers: “The Center Holds: Obama and His Enemies”(2013), “The Promise: President Obama, Year One” (2010) and “The Defining Moment: FDR’s Hundred Days and the Triumph of Hope (2006). Since 1996, Alter has been an analyst and contributing correspondent for NBC News and MSNBC.

In his documentary debut, Alter joined John Block for 'Breslin and Hamill: Deadline Artists,' an HBO film. The story follows two swashbuckling newspaper columnists who spoke for ordinary people and brought passion, wit and literary merit to their brilliant reporting about their city and nation.

Interviewees include Tom Wolfe, Robert De Niro, Spike Lee, and Shirley MacLaine, among others. It captures the charm of the old New York, while probing explosive issues of race, class and the practice of journalism that resonate powerfully in our own time.

In this interview, Alter discusses the “wonderful chaos” of documentary filmmaking, what the national news taught him about story compression, the difference between important stories and interesting stories, what he has learned from interviewing eight American presidents, and how growth as a writer may not be linear.

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Colin Stetson knew he wanted to be a performer at a very early age. When it was time to choose an instrument in school, he picked the saxophone.

Over the years he has worked extensively live and in studio with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, LCD Soundsystem, and David Gilmore.

Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter.

Recently, he’s been asked to compose scores for Hereditary, Blue Caprice, and Hulu’s The First. His music has also been featured in Electric Dreams, The Rover, Bad Times at the El Royale, Arrival, and 12 Years a Slave.

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Meredith Danluck started her career as a visual artist. She soon moved into directing, starting with music videos and now feature films. Thanks to female directors like Kathryn Bigelow, Danluck knew it was possible to make it in a predominantly man’s world.

Her latest film, ‘State Like Sleep’ stars Katherine Waterson, Luke Evans, and Michael Shannon. The plot follows a woman grappling with the consequences of her celebrity husband's double life after he commits suicide.

In this interview, Danluck tells fans that millions of dollars isn’t necessary to make a film if the team stands behind the project. We also discuss transitioning careers, the benefits of note cards, keeping a low overhead as an artist, and the importance of fleshing out supporting characters.

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Duncan Skiles grew up in a movie-loving family. He started off making movies with friends and family, before he took a stab at professional films. For this feature, he teamed up with Christopher Ford - hot off the script for ‘Cop Car’ - and they paired up for ‘The Clovehitch Killer.’

The mystery stars Charlie Plummer and Dylan McDermott and exists within the vein of ‘Rear Mirror’ or ‘Disturbia,’ with a twist. The official plot reads, “ A picture-perfect family is shattered when the work of a serial killer hits too close to home. McDermott stars in this chilling portrait of all-American evil.”

In this interview, Skiles discusses his love of cinema, the origin story and influences behind ‘Clovehitch,’ making a disturbing movie set in daytime, the necessity of trial and error, moving from over-the-top to reserved works, and creating outcasts in film.

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Melissa Miller Costanzo launched her career in the art department, working on projects like ‘Precious,’ ‘Rubicon,’ ‘The Fighter,’ ‘The Magic of Belle Isle,’ ‘The Affair,’ and the recent films, ‘Rebel in the Rye’ and ‘If Beale Street Could Talk.’

In her directorial debut, ‘All These Small Moments’ stars Molly Ringwald, Jemina Kirke, and Brendan Meyer. The story follows “A teenage boy's infatuation with a woman he sees on the bus further complicates his already tumultuous adolescence.”

Back up plans in the field, misconceptions about locations and the art department, being flexible as a director, getting a project off the ground, the problem with heavy titles, arcs in small scenes, how to pace yourself as a director, and what she learned from Barry Jenkins while working on ‘If Beale Street Could Talk.’

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Haley Joel Osment’s career started at a vert early age. By chance, he was cast in a Pizza Hut commercial which led to being cast in the final scenes of 'Forrest Gump.' Soon after, he was on sitcoms, and then earned an Oscar nomination for the horror classic, ‘The Sixth Sense.’

In this interview, Osment talks about his early appreciation of the craft of being an actor, lessons from icons like M. Night Shyamalan, Steven Spielberg, and Robert Zemeckis, the luxury of preparation time on set, his decision to come back to film after attending college, and what it’s like working on comedies with Will Ferrell and Kristen Wiig.

In his latest film, 'Clara’s Ghost,' Joel stars as Joe. The official description reads, “Set over the course of a single evening in the Reynolds family home in suburban Connecticut, Clara's Ghost tells the story of Clara Reynolds who, fed up with constant ribbing from her self-absorbed showbiz family, finds solace in and guidance from the supernatural force she believes is haunting her.”

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Brothers Ari and Ethan Gold tackled the coming-of-age story, 'The Song of Sway Lake,' as a writer-director and composer. The film can be described as, “Music collector Ollie Sway recruits his only friend, a rowdy Russian drifter, to help him steal a 78 record from his own family's estate.”

Both brothers are interested in music and filmmaking. Ethan, the composer, has directed music videos. Ari, the writer-director, has been in various bands and created music. Together, the focus is always on story and “rowing in the same direction.”

In this interview, the duo discusses tapping into shared emotional experiences, real life inspirations for character, composing based on theme, the benefits and risks of working with siblings, how disagreements can lead to elevation, how to dig into yourself, and the truth about their friend Adrian Grenier and the character Ari Gold on 'Entourage.'

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As a photographer turned filmmaker, Vladimir de Fontenay started shooting on Super 8 to learn about filmmaking. Eventually, he made a short, also called Mobile Homes (2013), which would guide him to the new film, which stars Imogen Poots. Because of the short, he was able to get into festivals, meet producers, and connect with the future stars of the film.

The official description reads, “A young mother drifts from one motel to the next with her intoxicated boyfriend, and her 8-year-old son. The makeshift family scrapes by, living one hustle at a time, until the discovery of a mobile home community offers an alternative life.”

The original idea came when the director was driving and noticed a mobile home being transported. He realized the struggle to find a home was a universal need. Soon, characters started to materialize within his mind.

In this interview, Fontenay discusses images that stick with you, the struggles of storytelling, his appreciation for 'The Florida Project,' his the method in which he dives into a character’s mindset, and writing universal stories.

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