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Issue #22 [December 1996]

Features: Carl Franklin
By Erich Leon Harris
Devil in a Blue Dress got great reviews but didn't have legs. Where does a talented actor/writer/director go from here?

Features: Producing Features
By Zorianna Kit
Regardless of the budget, both halves of your brain need to be in good working order if you want to be a producer.

Features: Jim Thompson’s Lost Hollywood Years
By David Geffner
Lost Hollywood Years

Greg Olson understands film noir. So did Jim Thompson, who
gave us stories like Peckinpah's The Gateway and Kubrick's The
Killing. Too bad Hollywood never understood Jim Thompson.

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Issue #21 [October 1996]

Features: Vincent Sherman: A Director’s Life
By Eric Sherman
There aren't many directors left from Hollywood's Golden Age. Spry ninety-year-old Vincent Sherman, who directed many of the greatest actors of his generation, is one of them.

Features: Shooting in Hollywood North
By Mark Bentley Cohen
A favorable exchange rate and that view have lured Hollywood to B.C. for years. But indies find that trickle-down doesn't work in the movie biz, either.

Lucky Star Samuel L. Jackson
By Erich Leon Harris
One of Hollywood's most versatile actors comes clean about breaking stereotypes, the Oscars, and his new drug of choice.

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Issue #20 [August 1996]

Features: Master DP James Wong Howe
Richard Francis James Lee
On the 20th anniversary of his passing, this great "poet of the camera" is remembered by his nephew.

Features: Rapping with John Sayles
By Paula Nechak
The Renaissance Man talks about the pressures of directing, the pleasures of editing, and how to save a buck, Corman-style.

Indie Film Sweetheart Adrienne Shelly
By Timothy Rhys
Hal Hartley's ex-collaborator is five feet notothing and barely a hundred pounds, but Sudden Manhattan proves this actor/director double threat is anything but a lightweight.

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Issue #19 [June 1996]

Becoming the Director’s Right Arm and Left Brain
By Tina Frolund
A good script supervisor can mean the difference between a professional and amateur look for your movie.

Crooks, Psychos and Soldiers: the Cinema of Sam Fuller
Rus Thompson
A new documentary by Tim Robbins sheds light on the career of one of America's most brutally honest directors.

Features: Paul Schrader Calls the Shots
By Timothy Rhys
Mild-mannered, hellraising, walking contradiction Paul Schrader, one of America's greatest writer-directors, goes back to basics.

Harvey Keitel, Master of His Domain
Tim Rhys with Brian O'Hare
One of our all-time favorite actors talks about first-time directors, the Marine Corps, and the health benefits of letting go with that old Primordial Instinct.

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Issue #18 [April 1996]

Queers, Fears and Crocodile Tears
Ted Sod and Sandy Cioffi
His and Hers tales of this low-budget indie prove nothing beats a good script and a hell of a lot of determination.

Features: The Life and Times of John Peirson Part II
By Peter Broderick
Clerks. She's Gotta Have It. Roger And Me. J.P. Part II,
in which our hero single-handedly alters the American independent
film landscape.

John Frankenheimer Survives Hollywood
Tim Rhys and Ian Bage
Best known as the director of classics like The Manchurian Candidate, Birdman
of Alcatraz and Seconds, J.F. returns to his television roots with
the super-successful Andersonville and a new feature starring Marlon Brando.

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Issue #17 [February 1996]

John Duigan
By Paula Nechak
Duigan stands his ground down under.

Features: 1996 Independent Movie Review
By Charles McEnerney
Eighteen distributors, from the mini-majors to the micros, give us their mouthwatering lineup cards for the first few months of 1996.

Features: The Life and Times of John Peirson Part I
By Peter Broderick
Clerks. She's Gotta Have It. Roger And Me. In inventing the position of producer's rep, John Pierson helped reinvent American independent cinema.

Dark Star Tim Roth Kicks Some Ass
Tim Rhys and Tom Allen
Blend one part Cagney, one part Keitel, and equal parts Sid Vicious and Larry Olivier, and you might get Tim Roth, the fiercely independent British actor who has made a career of playing characters on the edge.