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James Gandolfini

L.A. Film Fest ’13: Spike Jonze on Sendak’s Influence, Gandolfini and His New Film “Her”

The "Being John Malkovich" and "Where the Wild Things Are" director spoke of his relationships with the late Maurice Sendak and James Gandolfini during a wide-ranging conversation with David O. Russell at the Los Angeles Film Festival Saturday night.

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John Magaro and Bella Heathcote in David Chase's "Not Fade Away"

Austin Film Festival

Austin Film Fest ’12 Review: “Sopranos”‘ Chase Rolls Into Rock With Directorial Debut “Not Fade Away”

After mastering one medium, the creator of "The Sopranos" and "Northern Exposure" gets personal with his first film, a passionate, tough love letter to Jersey and making it in the music business.

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Festivals Reviews Toronto Film Festival 2011

TIFF ’11 Review: When Girls Just Want to Have Fun…With Guns in Geoffrey Fletcher’s Audacious “Violet & Daisy”

A odd beast of a film that actually delivers, the "Precious" screenwriter's directorial debut is a surprising amount of fun for a somber, surreal tale of two teen assassins who wake up to their lives during what should be a routine hit.

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Interviews

Interview: Geoffrey Fletcher on Doing Something Different, Really Different With “Violet & Daisy”

The Oscar-winning screenwriter behind "Precious" talks about his darkly funny and strangely transporting directorial debut about a pair of celeb-obsessed hit girls.

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The Mentaculist

Extremely Reduced & Incredibly Diminished: Movie Characters Who Were Cut Out of the Final Film

By not making the final cut of "Extremely Loud and Incredibly Close," James Gandolfini joins a fairly illustrious club of actors who have seen major roles cut down to size.

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

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

Aly Muritiba on Risking Danger for Romantic Refuge in “Deserto Particular”

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”

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

Rex Miller on Celebrating the Transcendence of Arthur Ashe in “Citizen Ashe”

DOC NYC 2021 Interview: Tom Donahue on Crafting a Warm Tribute in “Dean Martin: King of Cool”

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

James Gandolfini

L.A. Film Fest ’13: Spike Jonze on Sendak’s Influence, Gandolfini and His New Film “Her”

Austin Film Fest ’12 Review: “Sopranos”‘ Chase Rolls Into Rock With Directorial Debut “Not Fade Away”

TIFF ’11 Review: When Girls Just Want to Have Fun…With Guns in Geoffrey Fletcher’s Audacious “Violet & Daisy”

Interview: Geoffrey Fletcher on Doing Something Different, Really Different With “Violet & Daisy”

Extremely Reduced & Incredibly Diminished: Movie Characters Who Were Cut Out of the Final Film

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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