The British Academy of Film and Television Arts has started videotaping its events and making them available online. Highlights include in-depth video interviews with Guillermo Del Toro, Mike Leigh, Anthony Minghella, and the Coen brothers, as well as a lecture by Will Wright. If that's not enough, BAFTA's online archives include treasures like this 1962 Academy publication on the making of Lawrence of Arabia.
In 30 years of going to Cannes, Roger Ebert has witnessed Francis Ford Coppola suffering from post-Apocolypse insanity and learned Jerry Lewis's secret for preventing riots--but the most interesting character he ever met there was a loudmouthed, fast-talking Texan named Silver Dollar Baxter with an uncanny gift for bluffing...
From Pitch to Premiere LA-based radio show The Business decided to track a film project from its earliest stages. Host Claude Brodesser began with an interview with the producer, the original screenwriter, and her agent, just after they had sold the project as a pitch.(RealAudio stream; interview starts at 11:08) Then he followed up with them as they were beginning their hunt for a director (RealAudio stream; interview starts at 2:51). And when they found a director, the director did an interview as well (RealAudio stream; interview starts at 9:20). It's an interesting look into how movies actually get made. (Via John August, who is the current writer on the project.)
Wonderful Town... Director Ryan McFaul (whose music video for Gay Boyfriend was previously seen in this MeFi thread ) is back with a dizzying MGM-meets-digital-compositing advert for a Broadway production of Wonderful Town. (Slightly less dazzling, but still worth seeing, is his ad for a San Francisco production of White Christmas.) Somebody give this man a feature film!
Tired of having to go through directors and producers, more and more screenwriters have their own websites to speak directly to the public (and to speak privately to each other.) Craig Mazin (screenwriter of the upcoming Opus the Penguin film) talks about why the hero aims low and how the screenwriter is like the Director of Photography. John Rogers worked on Catwoman and says "The one tiny shred of my artistic integrity I can take out of that process is that I've never actually seen the movie". Max Adams (whose Excess Baggage is reputed to be one of the best scripts ever made into a crappy movie) talks about how scripts get ruined. William Martell (the Robert Towne of made-for-cable movies) thinks it's a mistake to be too original. Terry Rossio (co-author of Pirates of the Caribbean reveals the physics of the story molecule. (Terry Rossio's site was mentioned in this thread on screenwriter John August's website but is worthy of a front page post of its own.)