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Don Logsdon

Tribeca ’18 Interview: Irene Taylor Brodsky on A Family Getting in Sync in “Homeless: The Soundtrack”

On telling a story with sound and finding a remarkable tale of reconciliation between a father and daughter who are just finding their rhythm after decades apart.

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Ronnie Sandahl on Taming a Beast in “Tigers”

Natalia Meta on Sneaking Into Your Soul with “The Intruder”

Laura Wandel on the World of Preparation That Went Into “Playground”

DOC NYC 2021 Review: Holly Morris’ “Exposure” Charts an Expedition That Can’t Be Measured in Miles

DOC NYC 2021 Review: A Football Team Has Plenty to Tackle Off the Field in “Messwood”

DOC NYC 2021 Review: What’s In a Name Leaves a Lot to Answer For in “Grandpa Was an Emperor”

Matt Damon: A Career in Cameos

Five Movie Marketing Miscues That Blew Up in All the Wrong Ways

Justin Lin on “Tokyo Drift” and the Four Hours That Saved the
“Fast & Furious” Franchise

How Joan Micklin Silver’s “Hester Street” Transcended the Idea of Hollywood Being a One-Horse Town

“Every Day Was Like, ‘How Do We Pull This Off?'” Martin Brest on “Midnight Run”

How to Be a Los Angeles Cinephile in 2020 – Even If You’re From Outside of Town

Torquil Jones and Nirmal Purja on a Life Moving Mountains in “14 Peaks: Nothing is Impossible”

Venice Film Fest 2021 Review: A Youth Retreat Reveals a Terrifying and Inescapable Reality in Joaquín del Paso’s “The Hole in the Fence”

Laura Wandel on the World of Preparation That Went Into “Playground”

“Every Day Was Like, ‘How Do We Pull This Off?'” Martin Brest on “Midnight Run”

Max Lowe on How Filmmaking Could Capture — and Facilitate — His Family Rebuilding Itself in “Torn”

Don Logsdon

Tribeca ’18 Interview: Irene Taylor Brodsky on A Family Getting in Sync in “Homeless: The Soundtrack”

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Joe Carnahan Talks About the Alternate Ending He Shot For “The Grey”

Interview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”

Playing God: 13 Actors Who Dared To Be the Deity in Movies