Production
Filmmaking - Production
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Speaking Volumes: The Production Benefits and Challenges of Shooting on Virtual Stages
For Metropolis special effects artist Eugen Schüfftan, a model, a mirror and a sharp-edged tool were all the instruments required to create cinematic wonder in the 1920s. The mirror—placed at a 45-degree angle in front of the camera—reflected the image of a model cityscape located just out of frame. The tool then scraped away sections of the mirror’s reflective layer, leaving only glass and revealing strategically placed actors in the distance. When the mirror was filmed, the citizens of Metropolis now magically appeared to inhabit the colossal urban dystopia. A century later, virtual production is the latest evolution in cinematic […]
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State Hopping: The U.S. Film Tax Credit Landscape
As the pandemic exited its first lockdowns and film production tentatively recommenced amid overall economic uncertainty, the fate of U.S. tax incentives for feature film and television appeared cloudy. Wrote James Cutchin in the Los Angeles Business Journal on August 20, 2020, “State coffers have been drained after months of lockdowns, starved of key tax revenues and exhausted by the costs of fighting the virus. With states facing such bleak financial outlooks, some wonder whether governments will continue to fund film tax credit programs.” Two and a half years later, those worries have been largely banished. Last fall in an […]
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Late Fees: New York State’s Film Tax Credit Delays
Increasing delays in receiving the New York State film tax credit are affecting profitability and even dissuading some from shooting in the state, say a number of independent producers. What has long been one of the most robust and dependable of tax credits in the nation has become less appealing to producers and financiers due to timelines that can stretch out to five years from the start of principal photography. These lengthening timelines, especially in the face of rising interest rates, affect independent films needing to borrow against the credit more than studio and streamer productions, which are often fully […]
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Cinematography Notes – Desaturating Women Talking
A perk of living in New York is the arrival each autumn of the New York Film Festival, which this year marked a milestone, its 60th edition — kudos to The Film Society of Lincoln Center. I’ve long thought of NYFF as a sampler of what’s happening in world cinema, a box of fine chocolates à la Forrest Gump. New Yorkers attending NYFF are privileged to enjoy choice selections from Cannes, Venice, Berlin, even Sundance. Which is to say, if there are new winds blowing somewhere in Cinema, they will be felt at NYFF. This year, the drained-color look of […]
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How the Oscar Contending Song “Brasília Bella” Is the Key to Watergate Film 18½
In making my Watergate historical fiction film 18½, I always knew that coming up with a consistent musical soundtrack was going to be essential for balancing the tone of a film that swings from comedy to thriller to drama at breakneck speed. One genre of music, and indeed one song, “Brasília Bella,” is the key to unlocking not only how our team navigated the tones and themes of the film, but also reflects the scale and scope of making an indie film at the high point of a global pandemic. Around 2018, I started working on the script for 18½ […]
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Judy Becker’s Top Ten Films (That Most Influenced Her Work as a Production Designer)
I came to production design as someone who has always loved movies. I also loved art, design, architecture and photography, so discovering that I could have a career that combined all my loves was one of the greatest moments of my life. I have a realism-based approach to filmmaking — most of the worlds I create are fictional, but within the context of the film my goal is to make them feel real, grounded, worn, authentic. If a director wants a stylized or surreal approach I would need to find a way to dirty it up and add imperfections to […]
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The 25th SCAD Savannah Film Festival Presents Wonder Women: Producers (the Christine Vachon Edition)
Moderated by Darrien Gipson, Executive Director of SAGindie, this year’s Wonder Women: Producers discussion at the SCAD Savannah Film Festival was a must-catch, mostly for two glaringly obvious reasons, with the first being the wide diversity of the participants. Alongside white Brits Alison Owen (Elizabeth, Saving Mr. Banks, perennial panelist and SCAD Savannah Film Festival Advisory Board member) and manager/producer Laura Berwick (Belfast, All is True, and Sir Kenneth’s longtime rep), there was the English-Jamaican writer/actress/producer Nicôle Lecky (Mood, The Moor Girl) and American actress/producer Jurnee Smollett (Lovecraft Country, Birds of Prey). Then there was the second reason—the presence of “grande dame” of indie […]
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Marcel the Shell with Shoes On‘s Team on IP Development at Gotham Week 2022
Several years back, Jenny Slate and Dean Fleischer-Camp traveled with friends to attend an out of town wedding. Opting to scrimp on lodging costs, the duo shared a crowded hotel room with four other friends. Slate just happened to be the only girl in the group, which led to her adopting a “teeny-tiny” voice to communicate her comparative petiteness to the other men in the room. The voice, a running joke for the rest of the weekend, became the eventual creative spark that would launch a web series, children’s books and feature-length film released by A24. Soon thereafter, the first […]
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On The Making Of 8 Winds: How I Turned An Ancient Buddhist Parable Into A Contemporary No-Budget Political Thriller
How and why What started it all was the 2016 election. I was at the Napa Valley Film Festival showing my documentary The Lost City of Cecil B DeMille, and I remember sitting in my hotel room watching the results come in and being devastated. While in Napa it dawned on me that I had worked on many other people’s films and it was almost two decades since I had made a film of my own. I’d spent much of this time trying to get one particular project made and was not successful. It felt like I was running out […]
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How to Rethink the Budget Needs and Hierarchies of Traditional Film Production to Enable Creative Freedom: On the Making of This Is Not a War Story
I just completed my second feature film, This Is Not a War Story. It’s a narrative hybrid film, complete with combat veterans denouncing war and Tom Waits wailing on the end credits. The film went from a microbudget experiment in 2017 to a Warner Media/HBO release in 2021. The supporting cast is composed entirely of non-actor veterans. We shot for 41 spread-out days, (with no bone-crushing overtime) and with a crew of eight-to-12 dedicated crewmembers functioning as a collective, in the model of a worker co-op. Our schedule was designed around two-week shooting periods, strategically scheduled over a course of […]
