There’s a line in Bob Dylan’s “Brownsville Girl” that goes, “(It’s) strange how people who suffer together have stronger connections than people who are most content.” Suffering together connected director Guillermo del Toro and cinematographer Dan Laustsen on the set of 1997’s Mimic. The Miramax-produced giant insect creature feature marked the first American effort for del Toro and just the second studio gig for the Danish Laustsen. The experience was not a pleasant one. As del Toro put it during an on-stage interview at the BFI London Film Festival last October: “Two horrible things happened in the late ’90s: my father […]
by Matt Mulcahey on Jan 4, 2018In Wes Anderson’s Rushmore, Jason Schwartzman plays a precocious prep school student whose interests include staging age-inappropriate plays like Serpico. Rushmore’s crew had its own precocious teenager in 16-year-old Brandon Trost, who worked on the film as an assistant to his dad/special effects coordinator, Ron. “I grew up on set with my dad. I’ve never had a job outside of the film industry,” said Trost, who was working on set by the age of 12. “You would think that growing up in movies would ruin the magic for you, because you know everything that goes into putting a movie together. But […]
by Matt Mulcahey on Dec 19, 2017When mere mortals gear up for a job, they are restricted to selecting cameras currently in existence. Not David Fincher. Fincher has long hated all the gak required to make a digital cinema camera functional: a wireless transmitter to get signal to video village, the add-ons to provide wireless iris and focus control, the assistant camera’s onboard monitor hanging off the side — all the things that turn a small, lightweight camera body into a labyrinth of cables and breakout boxes. Red Digital Cinema responded by making Fincher his own set of custom Weapon Red Dragons for use on the […]
by Matt Mulcahey on Oct 26, 2017If you happened to find yourself browsing through Walmart’s aisles in August of 2016, you may have come across a DVD titled In the Deep. Unless you particularly fancy Mandy Moore or Matthew Modine, there’s no reason you would’ve paid the movie’s shark-laden cover any particular attention – not with the glut of sharknados and sharktopuses gliding through the B-movie waters. Yet one year later that very same film – rechristened with its original title 47 Meters Down – debuted in American theaters on its way to a $40-plus million box office run. How did a movie seemingly resigned to the abyss […]
by Matt Mulcahey on Oct 23, 2017In horror movies, kids are often exempt from the carnage. It’s a trope of the genre—the cute moppet that any experienced horror viewer knows is in absolutely no peril within the confines of the film. Andy Muschietti’s adaptation of It opens with a grade-schooler in a yellow rain slicker having his arm torn off by a sewer dwelling clown—a creature who then drags the child into the underground bowels of Derry, Maine. The film’s brutal ground rules are immediately established – anyone is fair game and no appendage is safe. “I am very conscious watching any film where the main cast […]
by Matt Mulcahey on Oct 6, 2017As the end credits rolled after my screening of Trey Edward Shults’s It Comes at Night, a perturbed woman behind me angrily groused, “This is bullshit. WHAT comes at night?” In her defense, the mesmerizing trailer for the film from A24 certainly leads you to believe something is in fact coming at night — a concrete something, not a metaphoric something. But no horrific, plague-mutated creatures ever arrive at the red door that separates the apocalyptic outside world from the isolated home of Paul (Joel Edgerton) and his family (wife Carmen Ejogo and son Kelvin Harrison Jr.). What does come […]
by Matt Mulcahey on Sep 29, 2017There isn’t much left that legendary cinematographer Roger Deakins hasn’t done behind a camera. He’s shot science fiction, war movies, biopics and westerns. He’s dabbled in gorgeous black and white and lensed a Bond film. He’s forged rewarding collaborations with the Coen Brothers, Sam Mendes and Denis Villeneuve and worked with Scorsese and Sayles. So, is there anything remaining on Deakins’s cinematic bucket list? “What I really like doing is small personal dramas,” said Deakins with a laugh. “I don’t really like action films. I like films about people. I would’ve loved to have done Ken Loach’s films or movies […]
by Matt Mulcahey on Sep 14, 2017The polarity between director David Lowery’s $65 million Disney film Pete’s Dragon and the micro-budgeted A Ghost Story has been noted repeatedly in reviews and profiles. But the man behind the camera on A Ghost Story has a unique career trajectory of his own. Cinematographer Andrew Droz Palermo made his feature debut with Adam Wingard’s tone-mashing home invasion horror flick You’re Next in 2011. He followed that by co-directing a documentary (Rich Hill, an affecting character study of Missouri teens living in poverty) and a narrative feature (One and Two). Palermo is back in director of photography mode on A […]
by Matt Mulcahey on Aug 10, 2017An octogenarian couple returns to the hotel room where they spent their first night together — it’s a logline that would typically preface an elegiac rumination on love and mortality. But by the time that set-up arrives in the season finale of HBO’s new anthology series Rooms 104, it seems just as likely to give way to horror or violence…or interpretive dance. That’s the joy of the newest Duplass Brothers creation — each episode begins as a blank slate capable of unexpectedly evolving into any genre or tone. The 12-episode series — which debuted last Friday night — unfolds entirely […]
by Matt Mulcahey on Aug 1, 2017I have to admit I can no longer distinguish 35mm film from high end digital cameras when I go to the movies. I can spot 16mm or anamorphic lenses, but the line between digital and 35mm celluloid has become impossibly blurred. Wonder Woman cinematographer Matthew Jensen can still spot the subtleties, but for Jensen the aesthetics of film are only one of the reasons he enjoys working in that format. “It’s very hard to tell the difference, especially when you’ve gone through a DI (digital intermediate) process and you’re projecting digitally. We have some shots that are digital in Wonder […]
by Matt Mulcahey on Jul 18, 2017