The idea behind Muse of Fire was a simple one. We wanted to spend a year travelling the world and find out from as many sources as we could why Shakespeare is both so loved and so feared. We wanted to try and eradicate our own deep-rooted anxieties and help others to remove theirs.  This was the goal. How we would achieve all this was the ordeal.  It has been a five-year adventure but now the film is complete and ready for its world premiere at Raindance Film Festival, we can say that every moment of an incredible journey was worth it.

While newspapers alternately praise and panic about the glittering world of the Internet, there is a generation of children who have grown up with 24/7 connectivity and a smart phone in their hand.

Seeing and hearing A Field in England's Richard Glover sing "Baloo, My Boy" while in bedraggled character reminded me of the power often exerted by songs explicitly or implicitly germane to a movie's narrative.

Hysteria is back. Terry Johnson’s comedy was written for the Royal Court in 1993, and for its 20th anniversary it is being revived at Hampstead Theatre. It is a homecoming in a sense: the play is set in the Hampstead home of Sigmund Freud, where he receives unexpected visits from Salvador Dalí and a young woman who cannot keep her clothes on. Freud will be played by Antony Sher.

Feuchtgebiete has been the talk of Locarno. The word combines “damp” or “moist” with “areas” – yes, you might guess what’s coming. English-born, German-bred Charlotte Roche published in 2008 a novel of the same title, which became Wetlands in English. And as my mother’s reprimand of me and my brothers sniggering at what boys always snigger at went, “Will you please get your heads out of your pants…”

This week sees the release of the eagerly anticipated Alan Partridge film, Alpha Papa. And while there are those of us who simply cannot wait to cringe along with Norwich’s favourite talk radio host, there is a rather vocal minority that are indignant at having their favourite sitcom sullied by the limitations of the movie format. While it would be churlish to judge a film on the basis of an innate distrust of the movie-making business, a precedent has been set when it comes to much-loved comedies making that considerable leap to the big screen.

There's good cops and bad cops, hard cops and soft cops, old cops and young cops, funny cops and straight cops, maverick cops and by-the-book cops. The pairings are legion, the permutations endless. The movies teem with buddy cops, unlike paired with unlike to bring down bad guys. They've all pretty much got one thing in common: it's a guy thing. Yes, when it comes to reeling in the guilty parties, not a lot of sisters get to do it for themselves.

Woody Allen once joked that he would prefer to achieve immortality not through his work but through not dying. He is now 77 and the inevitable is a lot nearer than it was when he first realised, aged five, that this doesn’t go on forever. Fear of death has powered the furious productivity that in the early days yielded jokes by the yard, then the films appearing year upon year. In the interim the public image has calcified: the master comedian who would prefer to be a tragedian, the world-class worrier, the clarinet-tooting workaholic. But is that the real Woody Allen?

Mel Smith, who has died at the age of 60, will be principally remembered as one quarter of the satirical sketch show Not the Nine O’Clock News and one half of its blokier spin-off Alas Smith and Jones. A natural and inclusive comedian, it’s less widely recalled that Smith also directed one of the most successful films in British movie history: Bean. As co-founder with Griff Rhys Jones of Talkback, he was also a pioneer in independent television production. When they sold the company, Smith became a millionaire many times over.

Even now, as Edward Snowden floats in the diplomatic neverwhere of Sheremetyevo airport, someone somewhere is plotting the movie. Currently the story of the man who blew the whistle on the National Security Agency looks like it could still play out as farce, but it may yet turn to tragedy.