In the film Stranger than Fiction, I play best friend to a man who realizes his every move is being written for him. I can relate. As an actor, I depend on writers to give me something to say. I can be witty, suave, inept or mentally ill when given the right material. Here, as a writer (not that I presume the label), I am stuck with my own experiences as an actor, which, as it happens, can be a bit stranger than fiction.

With me so far? (Us emotional actors like to know we're getting through to our audience.)

I don't mean the extremist antics portrayed in Us Weekly or Star Magazine. No, I mean that peculiar career of pretending for a living that I and thousands of others have chosen for ourselves: a career that includes everyone from the journeymen actors struggling for years to get their first big job to the gene-perfect delivery boy "discovered" at the local Jamba Juice.
 

When Swedish television producer Lasse Hallström was hired to direct a local band's promotional clip, he had no idea he was starting an entertainment revolution.

Music as muse has the ability to unleash visions and voices that might otherwise remain inaccessible to even the greatest of writers.

Music is a powerful cinematic tool. How elegantly and honestly the tool is used is a different story.

The Grand Lady of Festivals is about more than The Da Vinci Code. 

FICL has created a harmonious producers-and-publishers market in glamorous Monaco that precedes the manic festivities of Cannes in May.

Ron Holloway visits festivals in Tirana, Budapest, Berlin and Hong Kong.

It's a guessing game that everyone in movie showbiz loves to play: picking both probable and possible entries at the forthcoming 59th Festival de Cannes

At 32, the month-long SIFF remains an important harbinger for the future of festivals young enough to be its children.

The Drag-Racing Championship of Film's Immortal Automobiles.