Braxton Pope: ‘You’re never caught off guard with Paul’

By Sam Moore

The producer of The Canyons and The Card Counter reflects on his experience working with one of Hollywood’s most outspoken auteurs.

Fred Armisen: ‘I’m wimpy about pain’

By Leila Latif

As he plays an overwhelmed indie director in Judd Apatow’s Covid comedy, the actor talks stunts and believing there really are no small parts.

Adrian Lyne: ‘I’ve always thought that acres of flesh is incredibly unsexy’

By Elena Lazic

The master of the erotic thriller talks Deep Water, his long absence, and working with Ben Affleck and Ana de Armas.

Lucie Zhang: ‘The nudity was like wearing a costume’

By Josh Slater-Williams

The star of Jacques Audiard’s Parisian drama reflects on her whirlwind journey from first-time actor to the Cannes red carpet.

Joachim Trier: ‘We need to feel that we have choices which can change our lives’

By Hannah Strong

The writer/director of The Worst Person in the World ponders love, death and the possibility of a cosmic order to all things.

Franz Rogowski: ‘It was a gift to not have to explain it all through words’

By Elena Lazic

The beguiling star of Sebastian Meise’s Great Freedom reflects on his career so far and the future of cinema.

Matt Reeves: ‘I didn’t know if Rob would want to come back to a blockbuster’

By Kambole Campbell

The man behind the return of Gotham’s favourite son reveals why Robert Pattinson was his first and only choice.

Johnny Knoxville: ‘It’s not Jackass unless you’re standing on your own dick’

By Hannah Strong

The clown prince of MTV reflects on returning to Jackass 20 years after it all began, and if the new stunts still hurt like they used to.

Clifton Collins Jr: ‘I never used peppermints with the horses’

By Emily Maskell

The star of Sundance hit Jockey speaks on the intricacy of working with animals and his love of movie westerns.

Mamoru Hosoda: ‘When it comes to the internet, reality has overtaken fiction’

By Kambole Campbell

As Belle hits UK cinemas, the acclaimed Japanese director talks Digimon, virtual cityscapes, and parenthood in the digital age.

‘We got this!’ Paul Thomas Anderson and Alana Haim in conversation

By Hannah Strong

The creator and star of Licorice Pizza take us on a tour through the San Fernando Valley and reveal why HAIM love to walk everywhere.

Mahamat-Saleh Haroun: ‘How would the female body exist without the pressure of patriarchy?’

By Anahit Behrooz

The legendary Chadian director speaks candidly about reproductive rights in his home country and supporting the next generation of filmmakers.

George MacKay: ‘I find the development of morality fascinating’

By Katie Goh

One of the UK’s most promising young actors reveals how contemporary politics influenced his role in Munich: The Edge of War.

Joel Coen: How we made The Tragedy of Macbeth

By Adam Woodward

The director and his team relay the secrets of breathing new life into one of the most hallowed texts in all of history.

Agathe Rousselle: ‘It’s unusual to see dangerous women’

By Hannah Strong

The French model-turned-actor on getting into character for her breakout role in Julia Ducournau’s Titane.

Steven Yeun: ‘I have a desire to play a humanity we can all access’

By Charles Bramesco

The in-demand Korean-American actor reflects on his role in Stephen Karam’s intimate ensemble drama The Humans.

Maggie Gyllenhaal: ‘When we express ourselves as women, it feels different’

By Hannah Strong

The actor on stepping behind the camera for her powerful and enigmatic Elena Ferrante adaptation, The Lost Daughter.

Ari Wegner on how she created The Power of the Dog’s visual identity

By Hannah Strong

The cinematographer reveals the trick to shooting digital cows, and why the film is really a monster movie.

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About Little White Lies

Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.