Authors — Filmmaker Staff
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“An Emotional Language Emerged Within the Textured Universe of Glitches”: Matt Yoka | Whirlybird
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The Glitch. The analog video glitches throughout Whirlybird are more than stylized decorations, they are ghostly characters. While sifting through thousands of hours of the Los Angeles News Service archive (3/4″ and beta tape from the 80s and 90s), video glitches were abound. As much as I wanted the audience to […]
by Filmmaker Staff on Jan 26, 2020 -
“We Took a Minimalist, Naturalistic Approach”: DP Charlie Sarroff on Relic
The devastation of dementia is translated into a haunted house horror film in Natalie Erika James’ Relic. It follows Edna (Robyn Nevin) after she mysteriously disappears from her home, causing her daughter and granddaughter great worry. She eventually returns without an idea of where she was, and it appears that something sinister follower her back. DP Charlie Sarroff talks about the inspirations for the visual style of Relic and the equipment that made it happen. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being […]
by Filmmaker Staff on Jan 25, 2020 -
“It Was Important to Draw Out Tension and Let the Awkwardness Breathe”: Editor Sean Lahiff on Relic
Natalia Erika Jame adapts the real-world terror of degenerative disease into a supernatural horror film in Relic. Edna, an aging woman, is feared for by her daughter and granddaughter after she abruptly disappears, leaving in her wake the signs of someone struggling with dementia. One day, she inexplicably returns, and a dangerous entity may have come back with her. Editor Sean Lahiff talks about why he so enjoys editing the “darker side of genre films.” Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being […]
by Filmmaker Staff on Jan 25, 2020 -
“Feels as if Time Is Unspooling in Front of Our Eyes”: Editor Gabriel Rhodes on Time
Fox and Rob Rich are married, but they’ve been apart for 21 years—Rob is currently serving a 60-year sentence for a crime that they both committed. Fox has been diligently fighting for the release of her husband, while also filming home footage to share with Rob so he can watch his six children grow and observe the home life he cannot be a part of. Garrett Bradley’s documentary feature debut Time explores the violent oppression of African American people entrenched in America’s prison system and editor Gabriel Rhodes elaborates on the process of weaving archival, home and interview footage together […]
by Filmmaker Staff on Jan 25, 2020 -
“A Dream Refusing Deferment”: Garrett Bradley | Time
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The telephone is a key object throughout the film. It’s the middle man. The conduit between problems and solutions, hope and disappointment. A dream refusing deferment. Sundance Responses 2020
by Filmmaker Staff on Jan 25, 2020 -
“When I Was a Kid, I Thought That Being a Psychiatrist Meant Getting to Sit in the Most Comfortable Chair in the World”: Kirsten Johnson | Dick Johnson is Dead
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Charles and Ray Eames apparently wanted their Eames Lounge Chair and Ottoman to have the “warm receptive look of a well-used first baseman’s mitt.” When I was a child, I simply knew their chair as “Dad’s chair.” He had one of them at his psychiatry office and one at home. Buying […]
by Filmmaker Staff on Jan 25, 2020 -
“When Used Well, Mirrors in Film Can Create Stunning and Confounding Images”: Bill Benz | The Nowhere Inn
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Mirrors are almost always a production headache. They (bear with me as I describe what a mirror does) reflect all the c-stands and lights and crew members that you were trying to hide from frame in your cramped indie film location that was never intended to be “a set”. However, when […]
by Filmmaker Staff on Jan 25, 2020 -
“Linus Has His Blanket. Radha Has Her Head Wrap”: Radha Blank | The 40-Year-Old Version
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Radha’s head wrap. It seems to be a nice fashion accessory. One that nods to Black and African culture and reflects identity and cultural pride. And in a time when women obsess over our looks and feel pressured to express ourselves through hair, a head wrap feels like an act of […]
by Filmmaker Staff on Jan 25, 2020 -
“Each of the Remembered Hoovers Made a Different Sound”: Jerry Rothwell | The Reason I Jump
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? My object(s) would be two vacuum cleaners (hoovers) vibrantly etched in the childhood memories of Joss, an autistic teenager in the film. The hoovers don’t appear in the film, and probably no longer exist, but they’re frequently present and talked about. Their colors—one red and one black—become a verbal game that’s […]
by Filmmaker Staff on Jan 25, 2020 -
“This Simple, Undeniable Math Represents the Profound Connectivity of All Things”: Tara Miele | Wander Darkly
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Something that is particularly integral to Wander Darkly is the golden spiral that Matteo has on his forearm. This pattern/ratio exists everywhere—in the arms of expanding galaxies, in the composition of paintings, on seashells, and in our own bodies. This simple, undeniable math represents the profound connectivity of all things. The […]
by Filmmaker Staff on Jan 25, 2020
