Sonya Alexander is a freelance entertainment journalist, academic writer and screenwriter who began her career as a talent agent-in-training. She also does script coverage.
A Masterful Fugue of Dramatic Tension: Virgil Williams Discusses ‘The Piano Lesson’
Playwright August Wilson penned some of the most important creative works chronicling Black life during the 20th century. The Piano Lesson is the fourth in a series of ten plays dubbed “American Century Cycle” or ‘The Pittsburgh Cycle” because they all take place in the Hill District of Pittsburgh.
‘War Through a Child’s Eyes’: Steve McQueen on Blitz
“Seeing war through a child’s eyes is sobering. It helps us reconnect to a situation that’s ongoing and unfortunately very familiar,” Steve McQueen says of his latest film, Blitz. “I’ve never felt more useful as an artist because of what’s going on in the world.”
On the Musicality of Writing: Peter Straughan Discusses ‘Conclave’
Conclave is a taut papal mystery/thriller with visual majesty and operatic moments. BAFTA- winning and Academy Award nominated British screenwriter Peter Straughan (Tinker Tailor Soldier Spy, Wolf Hall) believes the beats of writing can be like music.
The Friend Filmmakers on Working With Naomi Watts, Bill Murray and a Big Dog Named Bingo
Filmmaking duo Scott McGehee and David Siegel first got the idea to adapt Sigrid Nunez’s 2018 National Book Award winner The Friend when Siegel read a review of it in The New York Times. It sounded like something that would easily lend itself to the screen. But it wasn’t.
Nickel Boys Director RaMell Ross on Controlling the Story Through First-Person Narrative
Ask Nickel Boys director RaMell Ross what first attracted him to directing, and he says that it isn’t his main point of interest.
‘The Brutalist’ is a Shrewd Cautionary Tale About Pursing the American Dream — Review
Brady Corbet’s The Brutalist is the offspring of Gone with the Wind and Citizen Kane. It’s a sweeping epic that tackles immigrant assimilation, the rotting underbelly of capitalism, diabolical and narcissistic captains of industry, and post-war trauma.
Showcasing Humor and the Grotesque: The Eggers Brothers Talk ‘The Front Room’
Sam Eggers and Max Eggers talk about making their first feature together.
'Blink Twice' Review
Zoë Kravitz understands her actors, story, and visual landscape. This is a confident entry in what’s sure to be the first of many noteworthy films by her.
'Twisters' Review
The movie is an endearing ode to old-fashioned disaster flicks that had romance at the center and it’s a legacy sequel that delivers.
Longlegs Director Oz Perkins on Making Movies to Deal With Death
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“Horror movies are self-help movies about dealing with death,” says Longlegs director Osgood “Oz” Perkins, who is painfully familiar with tragedy:
Meet Will Beall, the Former Cop-Turned-Screenwriter Behind Beverly Hills Cop: Axel F
Will Beall is no stranger to contributing to cop drama blockbusters. Perhaps its because he once lived a similar life to the characters he writes about.
From the Front Lines to Writers’ Rooms
Who would guess that navigating through the blazing hot deserts of the Middle East, riding in a Chinook helicopter in south Baghdad, or interrogating suspected terrorists in Iraq would translate into breaking stories?
A Romantic Action Comedy with Heart: Richard Linklater and Glen Powell Talk ‘Hit Man’
Texas natives Richard Linklater (Dazed and Confused, School of Rock) and Glen Powell have joined forces to create Hit Man, a delightful comedy that shows off Glen Powell’s acting versatility and Linklater and Powell’s writing chops.
The Strangers: Chapter 1 Director Renny Harlin on the Good Thing About Nightmares
Renny Harlin directing the new horror movie The Strangers: Chapter 1 may seem like a departure if you know him as one of the great action directors — a filmmaker known for Die Hard 2, Cliffhanger, and Deep Blue Sea, among other crowd pleasers. But he owes his start in Hollywood to horror.
How to Keep the Movie Box Office Lively and Profitable
The advent of the COVID-19 pandemic prompted the global closure of movie theaters, leaving a dead box office in its wake.