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‘Stan & Ollie’ Director Jon S. Baird On Joining Martin Scorsese’s Inner Circle, And Doing Justice To Laurel & Hardy
‘Mary Poppins Returns’ Rob Marshall On Keeping Musical Film Alive; ‘Hamilton’ Would Make “A Spectacular Film”
Deadline’s Golden Globes Live Blog
‘First Reformed’ Q&A: Paul Schrader Shocked He Wasn’t Attacked As “Liberal Jihadist” After ‘Last Temptation’ Protests
Is D.W. Griffith To Racists What Leni Riefenstahl Was To Nazis? – The ‘BlacKkKlansman’ Q&A
Kenneth Branagh’s Shakespeare Tale ‘All Is True’ Connects The Myth To The Man
John Krasinski & Emily Blunt Reflect On ‘A Quiet Place’ And The New Perspective Of Its Sequel
Steve McQueen “Saw The Matrix” When He Visited The FBI For ‘Widows’
‘Leave No Trace’ Director Debra Granik: Movie Stars “Don’t Interface Well With Social Realism”
How Barry Jenkins Planted The Seed For Adapting ‘If Beale Street Could Talk’ Long Before ‘Moonlight’ Oscar Victory
In ‘Wildlife’, Carey Mulligan Makes An Honest Woman Out Of The Complicated, Flawed Jeanette — Q&A
Yalitza Aparicio’s Unlikely Journey From Aspiring Preschool Teacher To Oscar Hopeful In Alfonso Cuarón’s Roma
The Renaissance Of Hugh Grant: Celebrating Oddities And Torturing Ben Whishaw In ‘Paddington 2’ And ‘A Very English Scandal’
An Old Soul In A Young Body: Why Timothée Chalamet Is A “Once In A Generation Talent”
