With Francine Stock

James Bond producer Barbara Broccoli explains why she's just produced a film called Radiator, about a middle-aged man caring for his two elderly parents that was made for less than one percent of the budget of Spectre, and why not all films should be made for teenage boys.

Bridge Of Spies scribe Matt Charman reveals why he took off his clothes to pitch his Cold War spy thriller to Steven Spielberg on the phone.

A rare showing of a 13 hour French movie that was totally improvised, Out 1, is playing soon in a West End cinema. Francine is granted a private screening and reports back from her marathon viewing session - was it all worth it and more importantly, will she ever recover the feeling in her legs ?

And there's an opportunity for listeners to write their own coda to Brief Encounter - what Alec did next...

With Francine Stock

The West Wing creator Aaron Sorkin discusses his biopic about Apple founder Steve Jobs and why the relationship between the character and the real person is the difference between a building and a drawing of that building.

Director Sean Baker reveals how he made a feature film, Tangerine, with two smart phones, and why he'd still prefer people to watch it on a big screen.

Documentary-maker Saeed Taji Farouky talks about his experiences of being embedded with the Afghan National Army in one of the most dangerous regions in the world.

And a sound editor responds to bird-watchers' complaints about birdsong being used in the wrong movie locations.

Image: Michael Fassbender portraying Steve Jobs. Image credit: Universal Pictures.

With Francine Stock

Bradley Cooper reveals his plans to write, direct and star in a personal project and why he'd rather be bad in a great movie rather than great in a bad movie.

Nick Hornby discusses his adaptation of Colm Toibin's novel Brooklyn and why he wanted to turn it into an old fashioned weepie that would break people's hearts.

As the world's largest youth film festival, Into Film, begins, we hear from a 14 year old debutant who's just made a short movie in 5 days.

To mark the 70th anniversary of Brief Encounter, Francine Stock asks why it still makes grown men and women weep despite the restrained passions, clipped accents and various parodies. She enlists the help of fans Moira Buffini, Matthew Sweet, Thomas Dixon, Neil Brand and Antonia Quirke.

With Francine Stock.

Director George Miller reveals the influence of Buster Keaton on his post-apocalyptic epic Mad Max:Fury Road.

The maker of Cartel Land, an eye-opening documentary about the Mexican drug wars, Matthew Heineman, tells Francine what it was like to visit a secret meth lab and to be caught in the middle of a shoot-out.

Composer Neil Brand dissects the opening of Jaws, and explains why a few notes can instil fear in us all.

Debbie McWilliams is one of the women who gives James Bond his licence to kill. She's been the casting director for all the 007 movies since For Your Eyes Only and let us in on a few secrets, for your ears only.

With Francine Stock

We can see Tom Hiddleston in three movies over the next few months; he explains why his films are like London buses.

Actor Ben Foster mounts a defence of Lance Armstrong, the disgraced cyclist he plays in Stephen Frears' new drama The Program.

Yorgos Lanthimos discusses the reasons that his characters are transformed into animals if they don't find a a mate in his satire The Lobster.

Chris Milk reveals the future of virtual reality and why it will supersede the medium of cinema.

Cary Fukunaga discusses the use of child actors to play child soldiers in his harrowing war movie Beasts Of No Nation

Producer Catherine Bray remembers the time when she thought her hair might actually be space worms, after watching a horror movie at the tender age of ten.

With Francine Stock.

The director of The Walk and Back To The Future, Robert Zemeckis explains the rules of employing 3D in film, and why it shouldn't just be used for effect.

Foley artist Barnaby Smyth demonstrates how he followed in the footsteps of Emmeline Pankhurst and co for the sound effects to Suffragette, which required him to wear specially adapted high heels.

Joe Wright, the director of Pan explains why Nirvana's Smell Like Teen Spirit makes an unlikely appearance in his new adaptation of J.M. Barrie's classic children's tale.

Denis Villeneuve reveals the pressure of making the sequel to Blade Runner.

With Francine Stock.

Director Justin Kurzel tells Francine why he believes that Macbeth is suffering from post-traumatic stress disorder.

Greensman is not the latest super-hero but the name of the person who dresses a set with trees and shrubbery to make the indoors look like the outdoors. Richard Payne of Living Props reveals a few trade secrets.

Cinematographer Robbie Ryan explains why the selfie is making better actors of us all.

Matthew Sweet and Bryony Dixon of the BFI take us behind the scenes of a British film studio in 1928, just as new sound technology was about to change everything.

With Francine Stock

The director of Hairspray and Pink Flamingos, John Waters, discusses whether shock value still has any currency.

Sound editor Walter Murch reveals how he created the sounds of the future in 1971's THX1138

Michelangelo Antonioni's romantic drama L'Eclisse has one of the most iconoclastic endings in world cinema, critic Pasquale Iannone explains why.

With Francine Stock.

A new drama Everest depicts what happened to a group of mountaineers on Everest when a storm struck in 1996. Film-maker and climber David Breashears was on the mountain at the time and discusses the practicalities and the problems of recreating the fatal expedition with director Baltasar Kormakur.

Alfred Hitchcock loved the Albert Hall so much that he filmed there three times, including a boxing movie The Ring, inspired by his frequent visits to see fights in the auditorium. Francine follows in the footsteps of James Stewart and Doris Day in The Man Who Knew Too Much, which the director made not once, but twice.

Critic Tim Robey and film buyer Clare Binns run a critical eye over the offerings at the Toronto Film Festival.