Scans from the issue are available in the gallery, many thanks to Luciana. And below is a preview of the article:

The cast talks with TheWrap about the director’s unconventional approach while filming the period tale

There’s never been a film quite like “American Hustle.”

The bellbottoms, big hair, coke snorting and propulsive pop soundtrack evoke earlier ’70s throwbacks, like “Boogie Nights” and “Anchorman.” And the story of crooked politicians, charming con artists and the feds who bring them together is reminiscent of caper movies like “Ocean’s Eleven.” Yet “American Hustle” still defies all expectations — it’s funny and tragic, often at the same moment, and a masterpiece of shifting moods.

The movie serves as a coda in a trilogy of reinvention for director David O. Russell, whose last two works, “Silver Linings Playbook” and “The Fighter,” together scored 15 Academy Award nominations (including Best Picture for both) and won three Oscars for acting. “I want to do movies that are rooted in characters and that are based on their emotional lives and their struggles for survival and desire for reinvention,” Russell told TheWrap. “This theme of reinvention is what leapt out at me. It’s very American.”

That American theme binds the trilogy together, even though the films seem wildly different on the surface. “The Fighter” is an inspirational boxing movie with vivid and often comic characters. “Silver Linings Playbook” is a charming romantic comedy, with drops of pathos mixed in to leaven 
the uplift. And “American Hustle” riffs on 
the crime genre, dramatizing one of the most bizarre moments in law-enforcement history: the Abscam operation in which FBI employees posed as Arab sheiks in an effort to catch public officials on the take.

Read the rest of the article at thewrap.com