Filmmaking in prison. It sounds like something Alan Partridge would suggest, but it's an initiative that has seen Caesar Must Die pick up major awards at film festivals around the world - and more importantly, change the lives of those involved.

A docu-drama about inmates in Rebbibia maximum security prison rehearsing a production of Shakespeare's Julius Caesar, Vittorio and Paulo Taviani's movie raises questions about the boundary between reality and art, between prisoners and the public, between characters and humans. Vittorio attempted to address some of those in a Q&A after the film.

Here are five things I learned from Caesar Must Die's mass interview:

“When we were kids, during the war, the world was full of fear. It could have ended any second. Everything was uncertain.” “What’s the difference?”

That’s Ginger, 16 years of age, nailing the terror of existence as a teenager during the Cuban Missile Crisis. The scary part now? She’s played by Elle Fanning, who’s only 14. How on earth are Ginger and Rosa’s young lead stars so ridiculously talented? What’s it like for writer-director Sally Potter to put her own formative experiences on the screen? And why would any man in any movie choose to leave Christina Hendricks?

The answer: Alice Englert. But what else did I find out as I hung around the Ginger and Rosa premiere at the London Film Festival, shouting random questions at passers by? Here are five things I learned from Ginger and Rosa’s premiere.

There’s no two ways about it. Press conferences can be a bit dull if people aren’t in the right mood – the same old questions get asked, the same old answers are recited and no one comes out surprised.

But I was hoping for something interesting from Frankenweenie, Tim Burton’s lovely little stop-motion flick. Partly because the film is such an unusual choice to open the London Film Festival, partly because Catherine O’Hara (aka. Mrs McCallister from Home Alone) would be there, and partly because Tim Burton is, well, weird. Thankfully, I wasn’t disappointed.

Here are five things I learned from the Frankeweenie press conference:

Interviews with directors and actors can often be 15-minute, in-and-out, strictly controlled things. You get your slot, you’re chivvied along, you’re shipped out for the next set of identical questions.

So it’s always great when you have an interview that turns into a long, rambling conversation. I’ve had a lot of those recently – both over the phone (21 Jump Street) and in person (How Do You Write a Joe Schermann Song?) – but the latest was a chat with Johnny Daukes, the director and Elliott Smith-esque songwriter behind Wonder, a short which screened at the Raindance Film Festival last week.

The film, which is 26 minutes long, accompanies a short EP, which is out today in iTunes. Both are excellent, so I jumped at the chance to talk to him. Partly because he has a lovely voice (he is, I discovered, the voice of Nutri-Grain Breakfast Bars) and because we had a fun chinwag last year, when Acts of Godfrey premiered at Raindance.

The result? Another sprawling chat that covered everything from The Beatles and the critical response to Acts of Godfrey to Monsters vs Aliens, Special K and his new film with Tom Wilkinson.