Dressed in an impeccable suit and a pair of hip trainers, Joachim Trier looks like one of the characters in his acclaimed film Reprise. He seems like one of Reprise's characters, as well; bright, self-aware, given to both bold pronouncements and sly moments of self-deprecation. Trier's film won accolades on the festival circuit and even won Norway's Amanda award for best direction and best screenplay; chronicling the lives of two best friends with shared ambitions of literary glory, Reprise manages to be clever without being cool, hip without being insular, and conveys both the better natures and the human flaws of its characters. It's also startlingly funny, and while all the hip narrative touches in the film are clearly deliberate, they manage to be cool without ever for a moment seeming cold.

Trier spoke with Cinematical in Los Angeles about writing Reprise, the challenges of getting a European film to an American audience, the universal fashion code of Fred Perry shirts and how he's already said "No" to the idea of remaking his own film for American audiences. This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:




(Interview transcribed after the jump)

To mark the tenth anniversary of Frank Sinatra's death on May 14, Warner Home Video has unleashed such a massive volume of Sinatra DVDs that viewers will need to break out the hernia belts. There are 22 discs in all, with 11 titles new to DVD, and five box sets. One box set, The Rat Pack Ultimate Collector's Edition comes with a special deck of "Rat Pack" cards, reproductions of lobby cards, a pressbook and on-set photos, as well John Sturges' Sergeants 3 (1962), available for the first time. The high point of these discs is the DVD debut of Vincente Minnelli's Some Came Running (1958), a devastating widescreen melodrama about an army veteran and would-be writer (Sinatra) who returns to his small town.

A goofy dame (Shirley MacLaine) has followed him home, and a boozy gambler (Dean Martin) befriends him, perhaps ruining his chances with the local schoolteacher (Martha Hyer), probably the only one who understands his literary aspirations. Some Came Running is part of the Frank Sinatra: The Golden Years box set, which also includes Otto Preminger's The Man with the Golden Arm (a public domain title here available in its official release), None But the Brave (directed by Sinatra himself), The Tender Trap and Marriage on the Rocks (co-starring daughter Nancy). Then we have The Frank Sinatra and Gene Kelly Collection, with three discs, Frank Sinatra: The Early Years with five discs, and the four-hour 1992 "Sinatra" TV mini-series. To help with the celebration, Frank's youngest daughter Tina agreed to an e-mail interview with Cinematical. (See related story.)

At the Long Beach Grand Prix, the roar of high-powered race car engines fills the air, a deep bass thrum cutting through the smell of exhaust in the early summer heat. Tens of thousands of race fans have gathered to take in the metal-and-rubber reality of racing, but in the Long Beach Convention Center, a small group of journalists have gathered to talk about a big-screen fantasy vision of the spectacle roaring around us, Cinematical was there to speak with the people behind Speed Racer: Emile Hirsch, Christina Ricci and Matthew Fox, as well as producer Joel Silver.

Emile Hirsch, relaxed and fairly amused, is asked about embodying a classic character. "It's pretty cool." He laughs; "I was a very big fan of the show growing up ... I would just watch it every morning with cereal ... sometimes soda in the cereal. ..." I then asked Hirsch if, after reading the script, he was worried about being Mark Hamill to Matthew Fox's Harrison Ford, that Speed would be out-cooled by Racer X. "Well, now I am ..." The rest of the sentence is unprintable, but Hirsch then mocked Fox's masked mystery man and spoke sincerely about Speed's virtues: "Yeah, (Racer X) is so cool ... No, no, no; Speed's got the nobility; Speed does the right thing; Speed is ... Speed's cool."

(Hirsch on coolness:)

When David Mamet's Redbelt was announced, the initial simple summary seemed bizarrely incongruous: A noted playwright and dramatist making a film about martial arts? But while Redbelt involves the worlds of Jiu-jitsu and mixed martial arts, it's really just another way for playwright, screenwriter and director Mamet to look at the world. As martial arts instructor Mike Terry (played by Chiwetel Ejiofor) is taken from his noble (but underfunded) studio and plunged into the greed and glitz of Hollywood and commercial fighting.

As Mike tries to hang on to the things that matter to him in a world that dismisses honor as unprofitable, Mamet's script and direction create a film that somehow puts a philosophical twist on traditional fight films while also embodying everything we love about them. Cinematical spoke with Mamet and Ejiofor in Los Angeles.

Not long ago we asked you folks to submit a bunch of questions for Speed Racer stars Emile Hirsch and Christina Ricci to answer, and guess what -- they answered them! Well, not all of them, but a few lucky individuals had their questions hand-picked, thrown up on a screen and presented to those two charming kids during another one of Moviefone's fabulous Unscripted installments. As always, you can check out an exclusive clip from their chat above -- one you will only see here on Cinematical. In it, Hirsch and Ricci talk about working with a green screen, and how "tripped-out" the whole experience is. I believe Ricci compared it to feeling very high. Hmmm.

But anyway, these two cats star in the new film Speed Racer, out this Friday in theaters everywhere. And, as you're probably already aware, Speed Racer was based on an old 14th century poem about two spiders who fall in love with an elephant. Kidding! Of course it's based on the "tripped-out" (just tying it all in) cartoon from the '60s. The live-action feature film was written and directed by Larry and Andy Wachowski (aka those Matrix guys), and it also stars John Goodman, Susan Sarandon and Matthew Fox.

Check out the Moviefone Unscripted chat over here, and watch as the two talk about kissing (with and without tongue), cutting hair, fighting and details on their "perfect drive." Speed Racer arrives on May 9, and you can check out loads of really cool images from the film in our gallery below.

Harold and Kumar Escape from Guantanamo Bay, the sequel to the modern stoner classic Harold and Kumar Go To White Castle, hit theaters last Friday. I sat down with the film's writer/directors -- Jon Hurwitz and Hayden Schlossberg -- a few days after the release of their film. In the interest of journalistic integrity (and shameless name-dropping), I should tell you that the gentlemen are friends of mine, and all around great dudes.

Cinematical: How did the Hurwitz/Schlossberg magic begin?

Jon Hurwitz: Hayden and I became friends on the Randolph High School debate team and connected over a common love of comedy. We were both obsessed with the movies of the Farrelly Brothers and the Zucker Brothers. We loved Howard Stern. We thought it would be amazing if we could actually make movies one day. But it felt like it was the most unrealistic goal of all time for a couple of dudes hanging out in a basement in New Jersey. What changed everything for us was that in high school we were known for coming up with really funny "Would you rather?" scenarios. We came up with a list of 250 that we were going to try to get published.

Cinematical: What was the best one?

JH: "If you had to be sexually abused, would you rather it be by an android or a Muppet?"

Cinematical: Muppet. It's softer.

Hayden Schlossberg: Exactly. Plain and simple. It would hurt less. That is the correct answer.

Prior to her film's premiere at the 2008 Tribeca Film Festival, writer-director Tracey Hecht found time to answer a few questions about her film and her process for Cinematical. Life in Flight stars Patrick Wilson as a successful architect with the "perfect family" who, after a chance encounter with a young urban designer (Lynn Collins), begins to second guess his entire life. We published our review of Life in Flight this morning, where Joel had the following to say regarding Hecht's direction: "Hecht does a nice job invoking a sense of place in Life in Flight; she must know New York well, because she shows or mentions aspects of it that most visitors just never see, like the birds that fly out over the BQE. The visuals suggest a filmmaker who not only is in love with New York, but insisted on making sure there was no doubt that the film was made there instead of somewhere in Toronto."

Cinematical: You previously said you wanted to make a film about fear. Seeing as this is your feature debut as a director, I imagine making this film brought about a certain fear from within you?

Tracey Hecht: Yes, definitely. But I'm less afraid when I'm doing something than when I'm waiting to do it. So I think the leading up to making the movie was worse for me. Once I was actually in there, I really had a amazing time.

Cinematical: What do you think people are most afraid of these days?

TH: Oh, wow, I have no idea. I imagine that list is long. But I think the trick is to really find and know what it is inside of you that makes you afraid, and not let yourself just project your fears out onto other things.

Give Joshua Seftel some credit; he didn't pull any punches on War, Inc. In his first feature film, written by star/producer John Cusack, Jeremy Pisker, and Mark Leyner, Seftel attempts to make a scathing commentary on the War on Terror, the privatization of the military, the commercialization of societies all over the world, and other shenanigans. In a former life, Seftel was a former network news producer, and became known around Hollywood circles for directing documentaries like Breaking the Mold: The Kee Malesky Story.

He was nice enough to speak to me about the experience from a very blue room at the Tribeca Film Festival press office. Text and video are after the jump.

Pictured: Bart Got a Room writer-director Brian Hecker with William H. Macy

The 2008 Tribeca Film Festival has already produced its first little gem in Bart Got a Room, a charming teen sex comedy set in the vibrant, pastel-colored retirement communities of South Florida. Cinematical had a chance to conduct an email interview with writer-director Brian Hecker prior to Bart's premiere at the festival, and it went something like this:

Cinematical: A film like Bart Got a Room has "personal story" written all over it. How close is this film to your own life growing up?

Brian Hecker: The film is very close to my life growing up as a real nerd in South Florida. Of course, elements are stretched for comedic purposes, but the essence of it is painfully close to home.

Cinematical: Why do teenagers care so much about what other teenagers are doing?

BH: I don't think it's just teenagers. In our society, most people think about or worry about what other people are doing in relation to themselves. It's the cause of most people's suffering, and it's quite stupid and unnecessary when you start examining why we do this. High school is a place where you're stuck with the same small group of people year after year, so it's most apparent in this environment.

Last week, at the ever-so-swanky Ritz-Carlton near Central Park, Universal held a press conference for its upcoming feature, Baby Mama, which opens the Tribeca Film Festival tonight. Who participated? None other than stars Tina Fey, Amy Poehler and Sigourney Weaver, along with writer-director Mike McCullers.

Fey and Poehler were first, and they spoke to reporters together. They met on the Chicago improv circuit fifteen years ago, performing together in a group called Inside Vladimir (named after a gay porn movie, apparently).

"I had heard about Tina -- on the streets! -- before I met her," said Poehler. "We both had moved from where we were going to college to study improv. We were the two women on that improv team and that's where we were when we met. We met when we were big eyebrowed, poor, badly dressed ducklings."

The chemistry between the longtime friends was evident not only in the movie itself, but also during the press conference; they were able to very easily joke around and go back and forth without stepping on each other's toes. And, of course, since both are improvisational experts, they came up with very funny lines instantly, like when a reporter asked Poehler if she has any desire to be a mother. The answer is in the following audio clip:

Amy Poehler wants to be an Oscar winner's mother (0:14)

More quotes and audio after the jump.

Iron Man. Man, what can we even say about this movie that doesn't have you stoked (now there's a word I haven't used in a while) for it already? Robert Downey Jr. plays philanthropist Tony Stark, who, in the great tradition of billionaires through time, moonlights as an iron-clad superhero who fights villains and injustice; Gwyneth Paltrow makes a rare acting appearance as his secretary; Terrence Howard plays Stark's military colleague Jim "Rhodey" Rhodes, who helps him build the suit; and Jon Favreau directs (and also appears in the film, showing off his newly slimmed-down self -- OK, so I read People).

If you're a fanboy -- excuse me, fanperson -- and have already spotted 15 errors in what I just wrote, hang onto your hat. We've scored a summer-movie coup: Downey, Howard and Favreau will be gathering for a meeting of minds in our Unscripted studio this Saturday, interviewing each other using your questions. And what do we need? Your questions. When do we need 'em? Now!

Submit your question in the comments below by this Friday, April 25 -- then come back here on April 30 to see if it made the cut. Please don't forget to include your first name and the city where you live. Good luck.

It's been five years since Vadim Perelman's critically acclaimed feature debut with House of Sand and Fog. Now the director is back with his newest film, The Life Before Her Eyes, starring Uma Thurman, Evan Rachel Wood and Eva Amurri. The film is about Diana, whose life starts to crumble as the 15th anniversary of the school shooting she survived nears; it flashes back and forth between older Diana (Thurman) and the younger Diana (Wood) and her best friend Maureen (Amurri) in the weeks leading up to the tragic event. Cinematical sat down with Perelman and Amurri at AFI Dallas to talk about the film, which opens in limited release this weekend.

Cinematical: Eva, can you talk about the challenges of playing this role, which is much more of "nice girl" than you've played in your previous films?

Eva Amurri: The earlier roles I'd had just happened to be more bad girls. This is the first role I'd had where the role was basically all good, this very pure, selfless girl. What's funny is that Vadim really cast us against type – in real life, I'm much more the "bad" girl, while Evan is the serious "good" girl. I was a little worried about it, but I trusted Vadim, and he did a great job guiding us through it. It was an interesting exercise.

Manda Bala (Send a Bullet), directed and produced by Jason Kohn, is a richly painted, riveting documentary weaving together threads of political corruption and disparity of wealth distribution in Brazil, frog farms, kidnappings in Sao Paulo, reconstructive ear surgery, and the growth of the personal security business in Brazil. If all this sounds like a lot to meld together into one coherent tale, it is, but Kohn proves himself more than up to the task. Cinematical spoke to Kohn by phone recently about Manda Bala, which has received numerous awards on the fest circuit over the past year, and recently won three awards at the inaugural Cinema Eye Awards.

Cinematical: I read that at the Cinema Eye Awards, in your acceptance speech you talked about this film being made out of anger; can you talk a bit more about that?

Jason Kohn: Really that came out of my sense of frustration at the state of contemporary documentary films, at least at the time when I started making the film. There was a lot of talk going on about the democratization of docs, how it's cheaper to make them with new technologies, and I thought that was mostly bullshit. This idea that people on the marginalized fringes of society now have access to these technologies – it's just not true.

I don't remember a heck of a lot about the original Speed Racer TV show except that it had one of the great theme songs of all time. (Man, Greg Kihn spoke the truth: They really don't write 'em like that anymore.) That, and Speed's eyes were extraordinarily large and looked like a girl's, and his mouth never seemed to match what he was saying. Oh, anime! We were so young and untrained in your ways.

Forty years after it ended its two-year run on TV, Speed Racer has grown up to be a movie, starring Emile Hirsch (as Speed) and Christina Ricci (as Speed's girlfriend Trixie), both of whose eyes are appropriately large and well-lashed. Filmed by the Wachowski brothers (err, siblings?) in their first directorial effort since the Matrix movies, Speed Racer looks to be one of those movies that people will either love or hate. When we debuted the trailer back in December, it seemed like half the comments included the word "awesome," while the other half included the letters (and symbol) "WTF?"

You'll be able to see for yourself on May 9 whether the Wachowskis have pulled off the trick of transferring anime -- and racetrack shenanigans -- to the big screen. Meantime, we have more pressing business at hand: Emile Hirsch and Christina Ricci have signed on for our Unscripted interview series, for which they'll be asking each other your questions. And they can only do that if you get off your butt and submit one, so do it in the comments section below.

Please post your comment by Friday, April 18, and include your name and the city where you live. Go, Speed Racer fan, go!

Forgetting Sarah Marshall finds Jason Segel vacationing in Hawaii to forget the girl (Kristen Bell) who just dumped him. Alas, she's at the same resort with her new beau! It's the latest comedy from the Apatow camp, and it hits theaters this weekend. Cinematical spoke one-on-one with the film's director, Nicholas Stoller, regarding the movie, his upcoming Muppet project, and how much onscreen penis is too much onscreen penis.

Cinematical: Is it intimidating for you knowing that every movie associated with Apatow these days is such a comedy event? Does that put pressure on you as the director to live up to that standard?

Nicholas Stoller: Not really, I'm still excited I got to make a movie, so I'm not really thinking in terms of if it's going to be a big event. Our movie was cheap so we don't have to make up that much money. It amuses me, and I hope that it amuses more people.

Cinematical: It amused me, so there's one extra person anyway.

NS: We have you and me and we just need 30 million more Americans.