Forty years later, Rad is still doing what it has always done best. It gets people out of their seats, back on their bikes, and talking about why this scrappy BMX movie refuses to fade away. What began as a modest 1986 sports film has become a genuine cult fixture, passed down through generations and rediscovered in waves.

There are a few people in this industry who quietly sharpen you just by sitting and talking with them. Lin Shaye is one of those people. This was my second time interviewing her, and once again, she reminded me why she has endured for decades. Not just as a performer, but as someone who understands story, character, and the exact moment where comedy and horror overlap.

There is something especially fun about catching an actor at a crossroads moment in their career, when they are stretching into new genres and seeing how far they can push themselves. That is exactly where Victoria Konefal finds herself with Scared to Death, a horror comedy that lets her lean into fear, humor, vulnerability, and a little bit of meta madness. Sitting down to talk with her felt less like a traditional press interview and more like two horror fans geeking out.

There are interviews where you stick to the beats, hit the runtime, and move on. Then there are interviews where you realize about ten minutes in that you could talk about movies for hours and still not scratch the surface. Talking with Rae Dawn Chong very quickly became the latter.

There is something quietly satisfying about seeing the right actor catch the right role at exactly the right moment. Not because it is flashy or loud, but because it feels earned. Watching All Saints Day, and then talking with Don Swayze about it, confirms that this film is not just another credit on a long IMDb list. It feels like a turning point.

Walking into SXSW this year, it did not take long before The Peril at Pincer Point started coming up in conversation. The black and white visuals. The off-kilter humor. The strange, deceptively simple premise that slowly unravels into something far more unhinged. You could feel the curiosity spreading from theater lobbies to sidewalk chatter, people leaning in and asking, what is that?

Some movies don’t just age. They change shape. They quietly gather history around them, waiting for the moment when people are finally ready to meet them where they are. That feels especially true of Randy and the Mob and The Accountant, two deeply personal, defiantly Southern films from Ray McKinnon that are now getting a new life thanks to meticulous restorations and their first-ever Blu-ray release.

There are interviews you do because they’re on the calendar, and then there are interviews that feel like a hang. Talking with James Paxton landed firmly in the second category. Yes, he’s Bill Paxton’s son. Yes, that matters.