First Person | Little White Lies

First Person

Man leaning out of car window on country road against blue sky.
First Person

Robert Yeoman on shooting Wes Anderson’s Bottle Rocket

by Sophie Monks Kaufman

The cin­e­matog­ra­ph­er recalls how the pair hit it off on the director’s 1996 debut feature.
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First Person

Ai Weiwei on documenting the ‘greatest global crisis since World War Two’

by Stefan Pape

The artist and activist opens up about the pro­found expe­ri­ence of mak­ing his new film Human Flow.
Shadowy figure at microphone in dimly lit room.
Film Music

Oneohtrix Point Never discusses his intoxicating Good Time score

by Adam Woodward

Musi­cian Daniel Lopatin on sound­track­ing the Safdie broth­ers’ stun­ning latest.
Two men standing on a pedestrian crossing in front of blurred traffic, one wearing a white shirt and the other wearing a green shirt.
First Person

The Safdie brothers’ guide to shooting New York City

by David Jenkins

The Good Time direc­tors reveal the secret to cap­tur­ing the essence of their home town on screen.
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Interviews

S Craig Zahler: ‘Shooting graphic violence is like setting up a magic trick’

by Adam Woodward

The direc­tor of Bone Tom­a­hawk and Brawl in Cell Block 99 on his dis­tinct approach to genre filmmaking.
A woman in a black dress with arms outstretched, silhouetted against a dark purple background.
First Person

Dissecting Audrey’s Dance with Twin Peaks star Sherilyn Fenn

by Martyn Conterio

The actress reveals how Prince inspired an icon­ic moment from the recent third season.
Bearded man operating a video camera, dressed in dark clothing, with blinds in the background.
First Person

The Story of a Scene: David Lowery on A Ghost Story

by Manuela Lazic

The writer/​director reveals how he con­vinced Rooney Mara to eat a pie for his haunt­ing drama.
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First Person

The story of Kuso, by Flying Lotus

by Gabriela Helfet

We met the musi­cian-turned-movie direc­tor to talk Twit­ter, George Clin­ton and his sick cine-opus.
A smiling woman with long, wavy brown hair, captured in a dark, dramatic lighting.
First Person

Riley Keough on why she loves working on independent movies

by Charles Bramesco

The Amer­i­can star dis­cuss­es her role in the claus­tro­pho­bic thriller It Comes at Night.
Three men standing near a palm tree, woman lying in swimming pool in foreground, black and white image.
First Person

How to measure success in movies, with Lawrence Turman

by David Jenkins

The vet­er­an pro­duc­er behind The Grad­u­ate and The Thing dis­pens­es some sage advice.