A few days ago, I stumbled across an interview with Jean-Luc Godard conducted this summer by Dmitry Golotyuk and Antonina Derzhitskaya. The Russian translation went up earlier this month at Seance and, even though most of us will have to rely on Google Translate, it beats Navajo English. At first, the focus is on the most recent work, Film Socialism (2010) and Goodbye to Language (2014)—see, too, the dossier on "Late Godard" in the new issue of Screening the Past—though Notre musique (2004) comes up now and again. The conversation then turns to the film he's working on now, Tentative de bleu in the conversation, but now, according to Screen, called Image et parole. It will begin with the introduction of five elements—as if, Godard says, before we see the entire hand, we must consider each finger individually.

Jean-Marie Straub comes up; he's in Rolle, Switzerland, too, and evidently not doing well. As for Michel Hazanavicius's Redoubtable, which will see Louis Garrel as Godard in 1967 and '68, shooting La Chinoise and falling for Anne Wiazemsky (Stacy Martin), Godard doesn't want to hear about it—even though he seems a little miffed, amused or both by the fact that Wild Bunch, the production company behind Redoubtable as well as his own recent films, never mentioned the project to him.

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For Vulture, Abraham Riesman talks with Alfonso Cuarón, noting that Children of Men (2006) is now "getting the kind of online attention it sorely lacked ten years ago, generating recent headlines like 'The Syrian Refugee Crisis Is Our Children of Men Moment' and 'Are We Living in the Dawning of Alfonso Cuarón’s Children of Men?' As critic David Ehrlich put it in November, 'Children of Men may be set in 2027,' but in 2016, 'it suddenly became clear that its time had come.' … By Cuarón’s estimation, anyone surprised at the accuracy of his movie’s predictions was either uninformed or willfully ignorant about the way the world already was by 2006. 'People were talking about those things, just not in the mainstream!' he says. He was reading about refugees, know-nothing reactionaries, and eerie disruptions in biological processes during the early '00s. If Children of Men can be said to have a message, Cuarón encapsulates it: 'What’s really relevant now,' he tells me, 'is to stop being complacent.'"

When the exhibition Béla Tarr – Till the End of the World opens at the EYE Filmmuseum in Amsterdam on January 21, it'll feature two new short films by the Hungarian director who announced back in 2011 that The Turin Horse would be his last film. While he still has no plans for a new feature, Tarr tells Ben Croll at IndieWire that "I’m still a filmmaker. Because filmmaking is a drug, and you cannot just stop it. It takes time! But I still see situations in life, and I’m still thinking. My brain is not stopped." Among the other topics covered in the conversation are the future of film.factory at the Sarajevo School of Science and Technology, Hungarian prime minister Viktor Orbán and his first films.


With the new 4K restoration of Donnie Darko (2001) screening in the UK, IndieWire's Graham Winfrey nabs the chance to talk with director Richard Kelly, who says "he’s 'very close' to making another film, which could go into production as early as 2017. 'We have been working on a lot of stuff—all of it very ambitious—and I don’t want to jinx anything.'"

April Wolfe profiles Ava DuVernay, whose "indie career is on hold; she's now heading a $100 million Disney adaptation of a young-adult science-fiction classic," A Wrinkle in Time. "Every person I talk to for this story uses words like 'a force' to describe DuVernay. Sometimes it seems her status as an inspirational figure might overshadow the artistic integrity of her work."

"The place is the first interest," Deborah Stratman tells Peter Margasak in the Chicago Reader, "and that leads to an interest in the culture and the sociopolitical, and then it’s like, 'What’s the hook, or what other thing can be enough of a thread to drape a film on?'… Why am I going to China? I don’t speak Uyghur. I don’t know anything about their culture. This is so presumptuous of me. How am I going to be able to show this thing that’s so not me? But on the other hand, I feel like the gap between my reality and theirs is sort of what helps you see it—that’s actually what makes it fair and/or what gives you perspective. If the gap’s there between you and that thing, you can actually see the outline of it."

For Criterion, Hillary Weston talks with Maren Ade about Toni Erdmann: "I was interested in how two people who have known each other for a very long time can start again from zero."

Discussing Things to Come, Mia Hansen-Løve tells Amir Ganjavie that "for me, cinema is nothing but another way to practice philosophy." Further into the conversation in the Notebook, she talks about working with Isabelle Huppert: "I always found that there was something childishly malicious in her. Of course, there is this tension and this violence that she plays really well, but when we see it in reality she in fact has something a lot more juvenile than her hardness in the films."

For the Film Stage, Nick Newman asks Issey Ogata about working with Alexander Sokurov on The Sun (2005), with Martin Scorsese on Silence—and with Edward Yang on Yi Yi (2000): "Such a kind man, Mr. Yang. He was very gentle; his voice was very soft. It’s like Marty’s set: it’s very quiet. With him, it was really one or two takes—very fast."


Nathan Silver's interview with his mother, Cindy, for the Talkhouse Film


"I don't agree with the idea that cinema went from exterior realism, advanced to the height of poetic interiority, and then declined in the 30s," Mark Cousins tells Aryanil Mukherjee at the MUD Proposal. "These elements exist in movie history, but not successively. They are concurrent. Yes, there were periods when the exterior overrode the interior (the 1950s? the 1970s?) and vice versa (the 1960s? the 1920s?) but our fascination with cinema derives from the fact that it is both, that it is reality-dream."

Elliott Gould tells Kim Morgan at the New Beverly about working with Christopher Plummer and director Daryl Duke on The Silent Partner (1978) and meeting Alfred Hitchcock.

Stuart Jeffries profiles Claire Bloom for the Guardian: "She has starred in more than 60 films, not to mention plays and TV dramas including Doc Martin, Midsomer Murders and Doctor Who. Among her most famous roles were the girls—Juliet, Ophelia, Susanne from The Man Between. Then the women, starting with Look Back in Anger’s sexually confident Helena and then her performance as Nora in A Doll’s House, a role that allowed Bloom to 'fuse two conflicting sides of my nature—spoiled-child wife and the determinedly independent woman.' She, like Nora, had to slam the door on a husband—but in her case, it happened three times."

"I feel very lucky with the directors who have adapted my stories," Brian Selznick tells Sonia Shechet Epstein at Sloan Science & Film. "The books of Hugo and Wonderstruck were designed to only have ever existed as books. I think it is fair to say I did not think about Martin Scorsese when I was writing Hugo. But, as soon as his name was brought up it felt like there was no one else who could have directed it, and Scorsese turned out to have some kind of connection to almost every character in the book: he was a lonely, sick kid who was isolated a lot like Hugo; he is a great film director; he is an archivist like Tabard; he has rediscovered lost film directors like Michael Powell the way Hugo rediscovers Méliès." As for Wonderstruck, it was costume designer Sandy Powell who "read it and she thought Todd Haynes should direct…. It was Sandy’s idea to give the screenplay for Carol to Todd so she knows what he likes–they are very close."


Silvia Pinal on Luis Buñuel's The Exterminating Angel (1962)


"Margaret Honda’s films can’t be watched on a laptop or device," writes J. Louise Makary, introducing an interview for Incite! "It’s not just that they haven’t been digitized and uploaded, it’s that the viewer’s physical experience of viewing the films is so integral to the work that they must be screened, in 70mm and 35mm, in theaters equipped to project them with technical integrity."

"I went to movies alone, my love for them was so great when I was a teen," poet and filmmaker Fanny Howe tells William Corbett in the Paris Review. "In a sense, I believed they were made for me, me alone."

And finally, for now, it's time to catch up with the Hollywood Reporter's writers roundtable with Pedro Almodóvar (Julieta), Tom Ford (Nocturnal Animals), Kenneth Lonergan (Manchester by the Sea), Noah Oppenheim (Jackie), Allison Schroeder (Hidden Figures) and Taylor Sheridan (Hell or High Water).