“I wanted people to leave the theatre feeling that both Debbie and Pete were equally likeable and equally flawed.”

What did we consider to be the best of the best?

“When I met Quentin Tarantino I met my movie sifu – my master, you know what I mean?” the Wu-Tang legend speaks out about his new film.

“There were times when I wondered why I left Australia, where I had this great life, but working in Hollywood was something you really wanted it’d be so sad to never try.”

“I tried to play a part in every film I did make-up effects for, which led to more parts, and now parts is all I do.”

“A grunge-era version of Waiting For Godot,” is how director Adam Spellicy describes the play SubUrbia. Sarah Braybrooke gets the lowdown from the filmmaker.

"It’s a very bad, very complicated, very conflicted situation; one that’s difficult to understand, even for Mexicans. It really affects the energy in the country. You can feel this big, like, question mark. How is this happening? How did we get to this point, as a country? What can we do about it?"

The La Miranda Film Festival is looking to inject a bit more Latino love into our fair city, as Emily Wilson discovers.

...And still that’s only about a tenth of everything in total. Hurry. GO. BIFF-ore you miss out.

Cyclone sinks her teeth into the finale of the cultural hullabaloo that is Twilight.

“I said to my agents: ‘Get me this film! I have to do this movie!’ and I was met with a little resistance. And by a little I mean a lot.”

“There were too many big holes in these film histories, so I was just trying to do something a bit more complete.”

“There’s no elephant in the room,” when it comes to the inspiration behind Paul Thomas Anderson’s latest film. “If it was about Scientology it wouldn’t be called The Master and it wouldn’t be this story,” he stresses at a round-table press junket. Guy Davis takes heed.

“The film is filled with children, and has that open and joyous atmosphere, a lot of inquisitiveness and life to it. But there’s always a duality there; there’s the lightness of their joyful expression, but then there’s always the heaviness of the adult world around them.”

“There’s this perception of Europe as the source of ancient culture, as the cradle of civilisation, and people from Australia, North and South America, Africa, and Asia have all been effected by that idea... [This] story is about challenging that idea, about confronting this idea of Europe, in the 21st century.”