Contents Cover: Dark Star Tim Roth Kicks Some Ass
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.
by Tim Rhys and Tom Allen

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

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

Columns & Departments

Profiles: John Duigan
Duigan stands his ground down under.
by Puala Nechak

Contents Cover: John Frankenheimer Survives Hollywood
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.
by Tim Rhys and Ian Bage

The Life and Times of John Peirson Part II
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.
by Peter Broderick

Columns & Departments

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

Contents Cover: Harvey Keitel, Master of His Domain
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.
by Tim Rhys with Brian O'Hare

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

Columns & Departments

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

On The Set: Becoming the Director's Right Arm and Left Brain
A good script supervisor can mean the difference between a professional and amateur look for your movie.
by Tina Frolund

Contents Indie Film Sweetheart Adrienne Shelly
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.
by Tim Rhys

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

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

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

Shooting in Hollywood North
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.

Vincent Sherman: A Director's Life
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.
by Eric Sherman

Contents Jim Thompson's 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.
by David Geffner

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

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