Authors — Filmmaker Staff
-
“The Minox Miniature Camera That Penkovsky Uses to Photograph 50,000 Secret Soviet Military Documents”: Dominic Cooke | Ironbark
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? There is one object that is absolutely essential to Ironbark and that’s the Minox miniature camera that Penkovsky uses to photograph 50,000 secret Soviet military documents. Our hero Greville Wynne, played by Benedict Cumberbatch, passes these to the U.K. and U.S. governments, including essential information about the nuclear weapons that the […]
by Filmmaker Staff on Jan 24, 2020 -
“Sitting in Front of That Whiteboard for Two Days, Joe Came Up With Some Hilarious and Strange Drawings”: Eugene Kotlyarenko | Spree
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? There’s a prop at the heart of Spree that wasn’t actually meant to be in the movie at all. Joe Keery and I met up a lot before production trying to get to the bottom of his character. If we were going to convey the reality of a failed influencer taking […]
by Filmmaker Staff on Jan 24, 2020 -
“This Log Cabin Is the Fifth Cast Member”: Josh Ruben | Scare Me
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? This might be a little on the nose, but the most integral piece to this movie (the brilliant Aya Cash, Chris Redd, and Rebecca Drysdale aside), was our location. Though it wasn’t always the most pleasant to shoot in, this log cabin is the fifth cast member. We shot every corner […]
by Filmmaker Staff on Jan 24, 2020 -
“They Amplify the Size of Her Eyes, Enhance Every Nervous Tic”: Adam Carter Rehmeier | Dinner in America
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 eyeglasses Patty (Emily Skeggs) wears in the film are one of the more integral props in Dinner in America. They amplify the size of her eyes, enhance every nervous tic, really give the audience a clearer window into how she processes the world around her. On the happy accident side […]
by Filmmaker Staff on Jan 24, 2020 -
“A Metaphor for a Woman’s Rebuilding of Her Broken Life”: Phyllida Lloyd | Herself
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? There’s an object on screen that is the beating heart of the film. It’s not there at all in the beginning and it grows inch by inch. It’s a house! A self-build. A metaphor for a woman’s rebuilding of her broken life. It was impossible to work out how to shoot […]
by Filmmaker Staff on Jan 24, 2020 -
“No Object Is More Important Than People, Artists, Community and Love”: Catherine Gund | Aggie
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? One object dominates the narrative of my documentary film Aggie: a four-and-a-half foot square canvas painted by Roy Lichtenstein in 1962 called Masterpiece. Who knows exactly what this piece meant to my mother, Agnes Gund, when she bought it in 1976, but like thousands of other contemporary artworks she has collected […]
by Filmmaker Staff on Jan 24, 2020 -
“Objects Are Her Entire World”: Zoé Wittock | Jumbo
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? In Jumbo, objects are not just a backdrop, they are the story! From the ride miniatures that Jeanne precociously constructs in the confines of her overtly decorated room to Jumbo, the 15 ton machine that she falls in love with, objects are her entire world. Her bedroom being filled with them, […]
by Filmmaker Staff on Jan 24, 2020 -
“Documenting the Scene on Camera is Sort of Like a Dance With the Subjects”: DP Kristoffer Kumar on The Painter and the Thief
The Painter and the Thief is a documentary that investigates the legitimacy of conventional labels: criminal and victim, vagrant and artist, unstable and rational. It follows Czech painter Barbora Kysilkova, who had a naturalistic work of hers heisted from an Oslo art gallery, as well as Karl-Bertil Nordland, the man convicted for stealing it. Mysteriously, the painting was never recovered, but Kysilkova had a proposition for the man who made her work vanish—could she paint his portrait? What follows is a story about human connection and its infinite possibilities. DP Kristoffer Kumar, who has collaborated with Ree extensively, talks about […]
by Filmmaker Staff on Jan 23, 2020 -
“We Have Around 10 Unplanned Appearances of People Riding Scooters in the Movie”: Carlos López Estrada | Summertime
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? Electric scooters. The movie is a love letter to contemporary Los Angeles as told by its youth, and these ended up becoming instrumental pieces in understanding Los Angeles culture today. In addition to being extremely helpful for our cast/crew to quickly move around our many urban locations, we have around 10 […]
by Filmmaker Staff on Jan 23, 2020 -
“Wheelchairs, Crutches and Canes Take on New Shape and Meaning”: Nicole Newnham and Jim LeBrecht | Crip Camp
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 props—or tools—of the everyday lives of people with disabilities are part of the fabric of Crip Camp, present in every scene of the band of campers-turned-friends that our film traces through the 1970’s. In Crip Camp, wheelchairs, crutches and canes take on new shape and meaning: campers aren’t “wheelchair bound” […]
by Filmmaker Staff on Jan 23, 2020
