Interview: Alicia Fletcher

We talk to Alicia Fletcher, film archivist and programmer for the Silent Sundays series of silent films at The Revue, who this Sunday will screen comedies from silent film heavyweights Buster Keaton, Fatty Arbuckle, and Charlie Chaplin. We talk about her work as an archivist, the importance of music in silent films today and during initial release, and a bit about the diverging careers and films of Arbuckle and Keaton.

Interview: Kiva Reardon

We talk to Kiva Reardon, one of the founder and head editor for cléo, a journal of film and feminism, and talk about the formation of the journal, varying definitions of feminism, why she's always pleasantly surprised with the wealth and range of films they are able to look at, and what film writing inspires her the most as a writer and an editor.

Video Interview: Josh Gad

We catch up with actor Josh Gad to talk about his scene stealing voice work in Disney's Frozen as Olaf the Snowman, playing a character that’s only pure, unbridled joy, getting a chance to sing a song penned by some of his former Book of Mormon collaborators, and the happiness he gets from watching Olaf’s connection to children in the audience (including his own).

Interview: Gail Harvey

We talk with veteran director and photographer Gail Harvey about her latest film Looking is the Original Sin, which opens at the Carlton in Toronto this Friday alongside an exhibition at the theatre of photography from her decades long career.

Interview: Jennifer Podemski and Cara Gee

We talk to actress and producer Jennifer Podemski and actress Cara Gee about their work on the First Nations family drama Empire of Dirt, applying the film's themes more broadly to a picture of small town living, the film’s sometimes subtle humour, why Peter Stebbings was chosen for such a project despite being a white male, and how the film fits into a current renaissance for First Nations cinema in Canada.

Gamercamp 2013: The Stanley Parable’s Davey Wreden

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Interview: Destin Cretton

Dork Shelf talks to Short Term 12 writer and director Destin Cretton about the film's real life inspiration, adapting a feature from his own short, and fostering a sense of community within a group of actors who have never worked together before.

Interview: John Krokidas

Dork Shelf talks to Kill Your Darlings director John Krokidas about humbling your idols, the Beat Generation, youthful ambitions, working with Daniel Radcliffe, and wondering aloud about Glen Danzig’s past

Interview: Shandi Mitchell

Dork Shelf talks to Nova Scotia based writer and director Shandi Mitchell about her debut feature The Disappeared, about the differences between writing for publishing and film, her connection to the ocean, shooting on 16mm, and the recent cultural fascination with mortality under extreme conditions.

Interview: Karen Walton

We talk to current Orphan Black writer Karen Walton about her debut feature, the iconic Canadian horror film Ginger Snaps - showing at the TIFF Bell Lightbox on Halloween - and about the film's still growing notoriety, why her initial hesitation to write the film seems somewhat silly in hindsight, how hard it can be to be honest in horror movies, and why she’s moved by the analysis the film has received over the years.

Interview: Daniel Perlmutter

We chat with TIFF 2009 Pitch This winner, writer and director Daniel Perlmutter, about his recently wrapped comedy Big News from Grand Rock, and his film’s lengthy gestation period, why his film is a throwback to the same kinds of stories his main character is trying to make newsworthy, reuniting with one of his Pitch This mentors for his leading man, and how time flies once the film starts rolling.

Interview: Randy Moore

We talk with filmmaker Randy Moore - the man by the heavily buzzed about and entire shot at Disney World without anyone knowing about it psychodrama Escape from Tomorrow - about how the production stayed secret with so many people working on it, how he kept his cast and crew happy under stressful situations, what his films have in common with the work of Woody Allen, how talk of the film’s legality skews public perception of the final product, and the weird things that happened at Disney that weren’t a part of the film at all.