MOVIE RETRIEVER: Let's start with something that you might not get asked about every day - the score. Clint Mansell's (The Fountain) excellent work is my favorite of the year and almost acts like another character in the film. Can you speak about the importance of his work on Moon?

DUNCAN JONES: Clint's big time. The opportunity to have him on this film didn't seem very likely. We thought he would be way out of our budget. I had met him before. I knew him a little bit from before we had made the film. I knew I could get to him. It was just whether or not he'd be willing to do it. We'd shot the film and we had already started doing the cut and in the offline as a temporary track, we had been using some Requiem for a Dream tracks and some stuff from The Insider as well. Clint's was the music that I really wanted us to have. My producer and I talked about and thought all he could do is say no, so let's get in touch with him. I went the indirect route

Writer/Director Rian Johnson has made two films, the great Brick and the very-good The Brothers Bloom, finally opening this month after many frustrating delays. Johnson is a fascinating young filmmaker, someone in love with the language of cinema. How many filmmakers start their careers with modern noir and modern con man movies? Johnson takes risks and both of them have paid off. He sat down with

If you have heard any of the growing buzz coming out of the Cannes Film Festival, you will probably not be surprised to hear that Pixar has done it again. That buzz is about to become a deafening roar by the time it gets to the United States. Pete Docter’s Up is going to be one of the most beloved films of not just the season but

Stephen Belber, the acclaimed playwright who helped bring The Laramie Project and Tape to film, makes his directorial debut this week with the quirky comedy Management, starring Steve Zahn, Jennifer Aniston, and Woody Harrelson. Management is about a motel employee who goes to extremes to get the buttoned-up saleswoman who crosses his path to realize she loves him too. Belber took time out of his busy

Cary Fukunaga has made a debut film that will not soon be forgotten. His Sin Nombre is not only one of the best debuts of the year, but also one of the best of the last several years. The Sundance Film Festival, a forum that usually spreads the wealth, gave the film their Best Director and Best Cinematography trophies in 2008. Following Sundance, Focus Features waited for