Festivals & Events
Festivals & Events
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“A Herd of Wild Elephants Was About 50 Meters Away” | Richie Mehta, Poacher
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? Since we were making a series about wildlife crime, and those trying to protect wildlife, much of it was shot in a jungle in South India. And since those areas are lush with flora and fauna, it became important not to disrupt that environment whilst there, nor (and this goes without saying) get injured or die in the process from […]
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“I Couldn’t Watch the Footage Right Away” | Marija Kavtaradze, Slow
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? Since it was the first time when I shot anything on film, I was aware that there might be things that can go unexpected. However the whole process was very smooth, we were really well prepared—I felt comfortable with actors because we had a lot of rehearsals before. But maybe the challenge for me was that I couldn’t watch the […]
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“I Couldn’t Even Tell You Who Cut What”: Editors Brett Banks and Chris Iversen on Willie Nelson & Family
Archival and present-day footage are utilized to create a non-linear portrait of a legendary singer-songwriter in Willie Nelson & Family, a seven-part docuseries from directors Thom Zimny and Oren Moverman. Encompassing all seven decades of Nelson’s career, the series also touches upon his “philanthropy, marijuana advocacy, and activism on behalf of the American farmer.” Editors Brett Banks and Chris Iversen discuss their collaborative cut, resulting in a final product that’s an “amalgam” of both of their editing choices and styles. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you wind up being the […]
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“It Was up to the Subject To Choose Their Own Eyeline”: DP Bobby Bukowski on Willie Nelson & Family
Filmmakers Thom Zimny and Oren Moverman capture the seven decade-spanning legacy of one of America’s greatest living musicians in Willie Nelson & Family, a seven-part docuseries that weaves together archival and present-day footage to create a non-linear portrait of an iconic artist. DP Bobby Bukowski talks about lensing the series, touching upon his longtime collaboration with Moverman and how “no artificial enhancement was employed” on the shoot. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to […]
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“Figuring Out How and When to Peel Back the Layers of the Story Was Crucial”: Editor David Mehlman on Murder in Big Horn
The epidemic of Missing and Murdered Indigenous Women (MMIW) in Montana’s Big Horn County and its surrounding areas is the focus of the doc Murder in Big Horn from directors Razelle Benally and Matthew Galkin. With dozens of young women and girls from Crow and Northern Cheyenne Nations having gone missing over the past decade, the filmmakers utilize interviews with grieving loved ones, Native journalists and local law enforcement to try and understand the circumstances surrounding these tragic cold cases. Editor David Mehlman talks about cutting the three-part docuseries, including his longstanding collaboration with much of the team involved. See […]
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“It All Mirrored Willie’s World” | Thom Zimny and Oren Moverman, Willie Nelson & Family
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? The obvious unforeseen obstacle, crisis, and unpredictable event we had to respond to in making Willie Nelson & Family was the pandemic. But the impact on the process was surprising. As most people know (if they don’t, they will after seeing the five-part documentary film), Willie Nelson lives on the road. He always has to be on the bus, on […]
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“You Hope the Work Can Play a Small Part in Moving the Needle Forward”: DP Jeff Hutchens on Murder in Big Horn
Dozens of Indigenous women and girls from the Crow and Northern Cheyenne Nations have gone missing over the past decade in Montana’s Big Horn County and its surrounding areas. These cases often go cold, leaving grieving families without any closure—especially when met with the ambivalence of local police. Murder in Big Horn, a documentary from directors Razelle Benally and Matthew Galkin, confronts the epidemic of Missing and Murdered Indigenous Women (MMIW) by interviewing loved ones in mourning, Native journalists and law enforcement. DP Jeff Hutchens talks about shooting this project with the utmost sensitivity while also capturing the “palette of […]
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“My Techniques Are Intuitive”: Editors Marc Boucrot and Jacqueline Castel on My Animal
Lycanthropy serves as a metaphor for burgeoning queer desire in My Animal from director Jacqueline Castel. Heather (Bobbi Salvör Menuez) is a benchwarmer on her local hockey team and deals with an alcoholic mother at home. Adding to her misery is the fact that she’s confined to her quarters during each full moon due to a dangerous transformation occurring within her. She finally finds a salve in Jonny (Amandla Stenberg), a figure skater who recently moved to town. Desperate to flee from her myriad problems, Heather hopes that Jonny will join her on the journey to society’s outskirts. Edited by […]
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“It Was -30 to -40 Degrees Celsius for Most of the Shoot”: DP Bryn McCashin on My Animal
Heather (Bobbi Salvör Menuez), a hockey player with a troubled home life, becomes instantly drawn to figure skater Jonny (Amandla Stenberg) who’s just rolled into town. Despite being held captive in her own house during each full moon, Heather yearns to escape and have Jonny by her side. Teeming with queer sensuality and lust-fueled lycanthropy, director Jacqueline Castel’s My Animal injects originality into a classic monster mythology. DP Bryn McCashin tells Filmmaker about lensing the film, which entailed frigid night shoots in Northern Ontario, Canada. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did […]
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“It Cost Us Nearly a Quarter of Our Budget To Be Shut Down for Two Weeks” | Jacqueline Castel, My Animal
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? My Animal was not an easy shoot—we shot nights in the dead of winter in an isolated community in Northern Ontario. While there were a lot of challenges, the biggest and most obvious crisis we faced as a team was a COVID shutdown that resulted in a two week suspension of the shoot. This was what I had feared the […]
