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That Sugar interview by Amber Wilkinson

30 June 2015 3:17 AM, PDT

Damon Gameau: 'Right from the beginning, I thought if you're going tell the story of sugar, you have to use all the tricks the food industry use - but subvert them' Damon Gameau's That Sugar Film looks beneath the surface of 'healthy foods' to examine how much sugar is in them and what it is doing to our bodies - using himself as a human guinea pig. We caught up with him at Edinburgh Film Festival to talk about the success of the film, being mentored by Morgan Spurlock and what the documentary has achieved since its release.

Aw: How important was it for you to have a broad audience that included teenagers as well as their parents?

Damon: 'What we're saying to people is, this is not a diet, it's just about trying to eat real food' DGIt was the number one goal from the beginning. As »

- Amber Wilkinson

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A Moon In The Water conversation with Gay Talese, part 2 by Anne-Katrin Titze

30 June 2015 2:00 AM, PDT

Christian Dior and Coco Chanel calligraphy dresses with a clip from Zhang Yimou's Hero edited by Wong Kar Wai Photo: Anne-Katrin Titze

With the John Singer Sargent exhibition, Sargent: Portraits of Artists and Friends, organised by the National Portrait Gallery, London in collaboration with The Metropolitan Museum of Art opening today, here is the second half of my conversation with Gay Talese on the seduction of fashion and film at China: Through The Looking Glass.

Myrna Loy, Anna May Wong, Callot Soers, Maggie Cheung, Tony Leung, Mila Parély in Jean Renoir's The Rules Of The Game, Edward G. Robinson in Little Caesar, Cesar Romero, Tyrone Power, Vincente Minnelli's Meet Me in St. Louis plus Ziegfeld Follies, Fred Astaire and the Duke of Windsor were conjured up. Gay told me about meeting Gene Kelly, Marcello Mastroianni and Federico Fellini during La Dolce Vita and we discussed tailoring while strolling »

- Anne-Katrin Titze

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Hallowed ground, part 2 by Luke Shaw

29 June 2015 9:03 AM, PDT

Joseph Mawle in The Hallow

Previously, Corin spoke about the decision to use practical effects in The Hallow, and the difficulties and challenges that these presented. He also touched on the way he created rule and reason as a meas of keeping the film true to its story, and to itself. Little is out of place, and none of the scares feel pointless or egregious.

One of the standout moments the film involves an arm reaching through into the attic, as a character desperately tries to keep it out. It’s heavily reminiscent of The Thing, or perhaps one of the more practical effects shots from The Mist. I asked if there had been any scenes were in his mind before the story was written, or if it was vice versa.

"I don’t want to break it down to a formula, but I did want a number of progressive set pieces that would. »

- Luke Shaw

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