Damon Smith
Air hockey enemies Azazel Jacobs (Terri) and host Eric Hynes stroll the floor of the Austin Convention Center to talk about coolness, the Clash, and pursuing the unexpected.
Check out Reverse Shot's inaugural foray into video film criticism and the failure of video film criticism. We look at Taxi Driver, Hannah and Her Sisters, and their varying visions of New York.
First-time filmmaker Kyle Smith and host Eric Hynes flee the madness of SXSW 2011 for the quieter comforts of the gridiron. Watch as they talk Bazin, Altman, and Turkey Bowl, Smith's terrific, unique debut feature.
Kelly’s logic-defying Southland Tales was a baffling exercise in futuristic, sci-fi apocalyptica that appears to have burst like a loose, baggy monster from the director’s adolescent id.
Wandering the solitary environs of New York’s Museum of Modern Art, Argentine director Mariano Llinás (Historias Extraordinarias) defends the art of voiceover narration and explains his Borgesian theories of “unlimited” fiction to Reverse Shot’s Damon Smith.
Taking the film/music connection to the next level, rapper-turned-actor Ice-T drops rhyme on Reverse Shot at the 2011 Tribeca Film Festival.
Tribeca Film Festival award winner Alma Har'el (Bombay Beach) tells a skeptical Eric Hynes about the joys of owning a small dog during a stroll in Central Park.
Host Eric Hynes talks to filmmaker Clio Barnard about the slippage between reality and representation in her new documentary-fiction hybrid The Arbor, which utilizes an evocative lip-synch technique to explore the gritty legacy of celebrated British playwright Andrea Dunbar.
Host Eric Hynes takes an adventurous stroll through midtown Manhattan with Jón Gnarr, mayor of Reykjavik and subject of the new documentary Gnarr, who discusses his love of The Wire after watching an unidentified man devour an enchilada.
Host Eric Hynes chats with celebrity cinematographer Christopher Doyle (In the Mood for Love) about the "dance" between camera and subject in a mirrored hair salon during the 2011 Tribeca Film Festival, where Doyle was attending the premiere of his "pink" film Underwater Love.
Reverse Shot trashes a hotel room with French director Bertrand Tavernier (La Princesse de Montpensier, Round Midnight), then chats with him about historical accuracy, creative urgency, and film criticism.
Legendary documentary filmmaker Patricio Guzmán (Nostalgia for the Light, The Battle of Chile) discusses memory, the poetic qualities of cinema, and why slow pacing returns us to the rhythm of life.
Eric Hynes and filmmaker Kyle Smith took a break from the SXSW bedlam to toss the pigskin around and discuss Smith's unique, assured debut Turkey Bowl. Here Kyle relates the high school sports moment that might have consigned him to a lifetime of filmmaking.
Reverse Shot's Eric Hynes strolls the Austin Convention Center with Azazel Jacobs (Terri, Momma's Man) in search of SXSW cool.
Set sail on Town Lake in downtown Austin with director Todd Rohal, while his co-stars Robert Longstreet and Steve Little pilot the most feared ship on the high seas.
Greta Gerwig, attending SXSW for the world premiere of The Dish and the Spoon, remembers her first visit to the festival all the way back in David Fincher-tinted 2006.
On the ground in Austin for SXSW, the Reverse Shot team chats with Marie Losier (The Ballad of Genesis and Lady Jaye) about a particularly surprising meeting with a wasp during a screening of Azazel Jacobs's Terri.
Art and life often meet in Kiarostami, though not often with such a conventional mise-en-scène. Still, the film is as ambiguous and sophisticated as anything in his oeuvre; even his prelude to the couple’s marriage ruse is a savvy and imaginative contrivance.
Too many Hollywood movies “loosely adapted” from Philip K. Dick stories (whether credited or not; Truman writer Andrew Niccol’s shameless swiping of Time Out of Joint comes to mind) water down the wigged-out, schizo futurist’s most radical ideas.
Host Eric Hynes talks to Palme d'Or–winning filmmaker Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) about the Thai jungle, time and duration, and the transformative qualities of life and cinema.