IndieWire with its “40 New Faces of Indie Film in 2011.” Here are the writers:

WRITER/DIRECTOR: Richard Ayoade, “Submarine” While Ayoade has made quite an impression on British television (and any American that began watching his recent hit series “The IT Crowd” after Netflix recommended it based on an interest in “The Office”) and the music video world (directing videos for The Arctic Monkeys, Vampire Weekend, the Yeah Yeah Yeahs and more), he has thus far only made it onto American screens as a director of NBC’s “Community.” “Submarine,” which is executively produced by Ben Stiller and is distributed by the Weinstein Company, marks his feature-length directorial debut (click here to read our interview with the film’s lead actor, Craig Roberts). The film quickly garnered Ayoade comparisons with Wes Anderson, which he very respectfully acknowledges.

WRITER/DIRECTOR: Mike Cahill, “Another Earth” On the high concept of “Another Earth: “I think we were wrestling with the idea of the loneliness of life. You may have great close friends, a great lover or a great family but there are certain things that you have just got to deal with yourself. There’s this inner monologue inside your head. We were both being very self reflexive about life, considering where we were at the time. It spawned from that. There is a relationship that you have with yourself that’s a very private relationship. What if that were externalized?”

WRITER/DIRECTOR: Paddy Considine, “Tyrannosaur” On why he made the switch from acting to directing: “I was just fed up with low-budget British film – getting a hand-held camera, swinging it around, improvising and chancing things a little bit. That whole technique got bastardized to death. I’m sick of seeing it. I wanted to make a movie. Actually, if there was any one model, it was Clint Eastwood. What I love about Eastwood is the simplicity of his films. Simplicity is a gift, I think. It’s not easy to do. People think they have to overcompensate, but it’s bold and brave to be still. I wanted that for my film.”

WRITER/DIRECTOR: Sean Durkin, “Martha Marcy May Marlene” On why he made a film about a cult: “I think as a child I was really afraid of groups that conformed. Cults were these thing that were really an example of that. I’m attracted to fear. I’m attracted to movies that scare you. I knew I would just end up working in that realm.”

WRITER/DIRECTOR: Andrew Haigh, “Weekend” On why he made “Weekend”: “When I was coming up with the idea, I wanted to tell the relationship drama honestly and have it about gay people. To try to tell a story that had wider resonance than that. That’s the thing about a lot of gay films, they’re just about being gay—nightclubs, coming out when you were a kid. I wanted to focus the everyday aspects of being gay. If I was straight, I would’ve told it about a woman. It’s after you make the film that the gay word gets used constantly.”

WRITER/DIRECTOR: Maryam Keshavarz, “Cirsumstance” On being targeted back in Iran because of the film: “Everyone knows about the film now. I think 12 hours after the film premiered, there was a statement against me in one of the national papers. They’ve been somewhat tracking us. I’ve gotten threats since then, anonymous ones. Love them!”

ACTOR/WRITER: Brit Marling, “Another Earth” On why she pursued acting: “The only reason I wanted to act is because it’s the hardest thing in the world for me to do. I can’t think of anything harder. I could probably be a heart surgeon easier than I could be an actor. Acting, what it demands of you—it requires this kind of monastic discipline where you just take on a story and you invest yourself in that world until that reality becomes more vividly imagined than the one you’re living in.”

WRITER/DIRECTOR: Madeleine Olnek, “Codependent Lesbian Space Alien Seeks Same” Her debut feature, the hilarious black-and-white sci-fi romantic comedy “Codependent Lesbian Space Alien Seeks Same,” charmed the pants off critics and audiences at the Sundance Film Festival earlier this year in its world premiere.

WRITER/DIRECTOR: Dee Rees, “Pariah” “The project had a really interesting evolution. It started as a feature film in 2005. I needed a thesis to graduate from NYU so I took the first act from the feature and shot it as a short and changed some stuff around so it would work as a standalone. Honestly, it was harder going from feature to short, than it was to finally go back an do the whole thing.”

WRITER: Will Reiser, “50/50″ On how close the protagonist (played by Joseph Gordon-Levitt) is to him: “Adam is very much an extension of me, but I didn’t intend for that. It just happened. I just had so much I wanted to say. There’s a real limitation on what you can and can’t say, like you can’t make fun of this because it’s a taboo. I really wanted to confront that in a way that was beyond my experience.”

WRITER/DIRECTOR Mikael Schleinzer, “Michael” The gripping tale of five months in the life of a pedophile (Michael Fuith) and the young child he keeps in his basement, “Michael” took Cannes audiences by surprise with its provocative story, which the festival did not reveal in advance. While critics were mixed, there’s no doubt that Schleinzer has established himself.

WRITER/DIRECTOR: Max Winkler, “Ceremony” Son of Henry Winkler (yep, Fonzie in “Happy Days”), Max is a graduate of the USC film school. He made his feature-directing and writing debut with the charming coming-of-age romantic comedy “Ceremony,” starring Uma Thurman and Michael Angarano.

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