FlashCallahan Pierre is a political reporter, assigned to write a fluff piece on Katya, a superstar who acts in slasher movies and a successful show about single girls in the city. The interview, at a restaurant, goes badly. She's late, he's unprepared and rude. After leaving, he bangs his head in a collision and she takes him to her loft to clean the wound. Provoked by alcohol and competitive natures, the interview resumes. She takes phone calls from her lover, Pierre reads her diary on her computer. They discuss wounds, he expresses concern, father-daughter feelings arise......For a short movie, this really goes deep into the psyche of our two main characters. But whereas you would think that the interviewee is the bitter, rude, anger filled celeb of old, it's actually Pierre, who spends the majority of the film feeling sorry for himself, and licking his wounds, both physically and mentally.Miller here is the voice of reason for a while, and when she feels more comfortable, she in turn opens up to him, and this in turn makes him realise her vulnerability, almost creating an uneasy father/daughter type relationship.Buscemi directs the film with with an interesting eye, and he's predictably brilliant as the bitter reporter. But it's Miller here, who's completely fantastic as the star, and in just a few minutes of being on screen, she goes from Jude Laws girlfriend, to compelling screen presence.It easily he greatest performance, and its a gripping watch.

Tom Ross "It's interesting because this film is about hurting each other. I believe you can't hurt somebody you don't care about and you can't be hurt by somebody you don't care about." Steve BuscemiThe Dogme 95-esque filming manner of Interview, a remake of a 2003 Dutch film by Theo van Gogh, draws on the bare elements that films require; actors and recording equipment. The film is set majorily in Katya's loft, and as the fly-on-the-wall bystander in the open-plan apartment, leaving the room without knowing a conclusion to the situation is bottom of any voyeur's to-do list.Baring in mind that mainstream films often rely on spectacular scenery, extraordinary events or one-man-can-change-the-world approaches, it is thoroughly encouraging to occasionally spend a close hour and a half with only two character, and not be able to decide who is good or evil. Much like the time we spent with Jeffries in Rear Window, or the sales team in Glengarry Glenn Ross, the characters confide copious amounts of past histories which the audience have no license to be knowledgeable of.A physical scar catalyses the movie into a deep intricate account of their personal inner lives. The war and political journalist shares tales of his compelling past with close relatives; his brother's suicide attempt, his ex-wife's death, and his daughter's heroin overdose. Equally, Katya has a larger than life history, a drug habit, smoking endless cigarettes and an untruthful relationship with her boyfriend. Although the film does take two extraordinary lives, there is no evidence that anything seen or heard is the truth and could quite easily be Pierre's alcoholism and Katya's cocaine snorting resulting in flamboyant imagination.Like in any script; conflict drives the narrative. There are no explicit goals attempting to be won or achieved, but a greater focus on the struggle to maintain supremacy. Katya's role in society – purely being a stunningly beautiful "actress" – lends herself to being celebrity with little reason for success, obliging Pierre to take superiority on the importance scale. While the film twists and turns its way through personal trauma, the erratic audiences' empathetic emotions fluctuate accordingly. Generally one might align themselves with either Pierre or Katya, but the film will bring the imagined character-spectator relationship into question at some point during is running time, and probably subsequently when the DVD player is switched off.In Interview, we find out a hefty amount more about the interviewer rather than the interviewee. If the journalist undertook his customary research and interview preparation, we would be left with the boringness of another Katie Price interview concerning her latest perfume. The ignorance of each other's toil provides opportunity to enquire into irrelevant issues on both parts, and as sexual tension turns into a familial relationship, sparks fly in all directions.

harriet-veale Wow. This film is seriously addictive and I am completely surprised that I had not really heard about it. It is fast-paced, witty, sexy, gripping and utterly intense! The script is incredible and spot-on; every single word is the perfect choice for the two characters, Pierre (Buscemi) and Katya (Miller). You really don't want it to end!It is primarily set in one room with just the two characters and there couldn't have been a better way for it to have been done; you are entirely focused on those people and their feelings and how they react to each other. That and the use of the Dutch camera techniques, particularly the three camera technique means that the two actors are always on screen together, makes this movie about four hundred times more intense. In 'Interview' Steve Buscemi shows himself to be a very very skilled director as well as a wonderful actor. He knows exactly how to manipulate the feelings of the viewers so one minute you are crying and the next minute you are shouting obscenities at the screen making this film even more of an exhilarating journey. The sexual tension between Buscemi and Miller is at the perfect level to give this film a great balance between the emotional and physical connection. Every word the actors speak is delivered with a certain precision not often seen nowadays in modern films. They work perfectly together and completely embody their characters.I would recommend this film without hesitation to anyone. You must see it! And having, discovered that it was originally a set of three films I shall certainly be off to find the other two if this one sets any standard for the style.

Bill Jordan I rented this because of Steve Buscemi's involvement. Always enjoy his characterizations, and the fact that Sienna Miller is in it as well was not a deterrent (even though I hated her character in "Factory Girl," though perhaps her portrayal was accurate). "Interview" started out well enough, but it eventually tried to be far more clever than it actually was. Much of the situation and reactions that occur make no sense whatsoever, and the ending implies that each character had an elaborate scheme to "get" the other (at least that's what I got out of it). And as far as Pierre's big secret, well, I didn't see how it could be used as a threat at all, which is what Miller's character does with it in the end. So, while quite watchable, this is not a film I'd recommend.