Columns
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Can Critics’s Awards and Top Ten Mentions Boost Revenues for Independent Films?
Do critics matter? Maybe. But do critics’ top ten lists matter? There’s little doubt within the industry that an Academy Award nomination (or win) can provide an extraordinary boost to a film’s profile, especially smaller independent films who need the long tail of awards recognition more than most. Think of last year’s The Florida Project or Faces Places. But what about all those year-end numerical rankings and lists, proffered by that dwindling professional entity known as the film critic? He’s no Oscar, but when the New York Times’ A.O. Scott puts your little film at the top of his year-end […]
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“Lights are Your Friends, but Sometimes They Don’t Need to Come Around to the Party”: Cinematographer Robbie Ryan on Shooting Yorgos Lanthimos’s The Favourite
In Yorgos Lanthimos’s The Favourite, two determined women — Rachel Weisz’s refined but ruthless Duchess of Marlborough and Emma Stone’s desperate and cunning chambermaid Abigail — vie for the titular preferential position alongside the ill and melancholy Queen Anne. Anyone expecting a beautifully mounted but stuffy 18th century period piece has not seen a Yorgos Lanthimos movie. Employing the same absurdist sense of humor as Lanthimos’s The Lobster, The Favourite also imposes the director’s preferred set of aesthetic restrictions — namely, wide angle lenses and shooting almost entirely with available light. Irish cinematographer Robbie Ryan (American Honey, Fish Tank), who […]
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Back to One, Episode 40: Aidan Gillen
He’s perhaps best known for his portrayal of Petyr “Littlefinger” Baelish on Game of Thrones but I first took note of the uniquely talented Aidan Gillen as Mayor Carcetti on The Wire. The Dublin native’s most recent role was the manager of Queen in Bohemian Rhapsody. Now he stars in the period UFO drama Project Blue Book, which premieres January 8th on History. In this half hour he talks about his intuition-based approach to preparation, how Jez Butterworth introduced him to the work of John Cassavetes, and I toss a name at him to spark some memories from The Wire. […]
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Filmmaker‘s Top 20 Posts of 2018
For Filmmaker‘s annual look at our top posts of the year, as determined by Google Analytics, we break the list into two: the top 10 posts of the year, and the top 10 2018 posts drawn from our archives. So, jumping right into it…. The Top 10 New Posts of 2018 D.P. Larkin Seiple Breaks Down Every Shot from Childish Gambino’s This is America. I’ll immodestly say that Matt Mulcahey’s Shutter Angles column presents the best DP interviews out there, and this one, hot on the heels of the Childish Gambino viral hit, topped our list of the best new […]
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Back to One, Episode 39: Cold War‘s Joanna Kulig
Joanna Kulig’s performance in Cold War is so astonishingly captivating and commanding and downright brilliant, that it feels like a classic performance delivered by an immortal screen goddess from the golden age of film. The film’s penetrating black-and-white cinematography and Pawel Pawlikowski’s impeccable direction helps, but this Polish masterpiece, short-listed for the Best Foreign Language Film Oscar, is impossible to imagine without Kulig. In this half hour she talks about how her music training came in handy while shooting the intricate moving camera shots in the film, and she ponders what it means when someone says she’s “so natural.” Plus […]
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“Like Most Looks in Film, It’s a Bit of a Recipe”: Cinematographer Newton Thomas Sigel on Using Varying Cameras, Lenses and LUTs on Bohemian Rhapsody
If you’re a fan of the music of the 1970s, your favorite artist may soon have a biopic on the way. An Elton John flick is already en route. We’ll probably get a Bowie movie. Maybe Zeppelin. I’m crossing my fingers for The Jim Croce Story. You can thank Bohemian Rhapsody for that potential onslaught. The Queen biopic has grossed more than $600 million worldwide so far on a budget of roughly $50 million. With the film still out in theaters, cinematographer Newton Thomas Sigel (Drive, Three Kings, The Usual Suspects) spoke to Filmmaker about recreating Queen’s epic concert lighting, […]
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Back to One, Episode 38: The Party’s Just Beginning‘s Director and Star Karen Gillan
Starting with her big break on Dr. Who, and continuing with the Guardians of the Galaxy and Avengers series, Karen Gillan has grown accustomed to fervent fandom surrounding her acting work. With The Party’s Just Beginning, (which she wrote, directed, and stars in) she stepped away from that hubbub to make a small, dark, intricately structured film in her hometown in Scotland. The movie folds out from her character through hallucinations, flashbacks and alcoholic hazes to tell the tale of her grief over her best friend’s suicide. I ask her what it was like directing a feature for the first […]
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Sundance Hits and Misses: How MoviePass, Politics and Streaming Boosted the Indie Theatrical Box Office of 2018
It wasn’t supposed to happen this way. After theatrical box office numbers for indies looked hopeless last year, 2018 proved all the doomsayers wrong. That’s thanks to such non-Hollywood hits as Hereditary, a Sundance Midnight entry partially financed and released by A24, which grossed more than $44 million in the United States and $35 million internationally. And it’s thanks to Searching, a Screen Gems acquisition out of the NEXT section, which grossed $26 million domestically and another $42 million abroad. Even Sundance’s 16-film Dramatic Competition — which offers a decent test sample of the overall truly indie marketplace — saw […]
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Getting the Job, Learning from The Master and Goodfellas, and Shooting with Cleaner Glass: Cinematographer Sean Porter Talks Green Book
Viggo Mortensen always seemed like the kind of actor who would insist on eating a dozen hot dogs in a scene if his character did the same. Green Book cinematographer Sean Porter confirmed those suspicions. “We shot a hot dog eating contest and Viggo was cramming them in at full speed every take,” laughs Porter. Green Book provided Mortensen (and his digestive system) with ample opportunities to display that kind of commitment to authenticity. In the based-in-fact story, Mortensen plays Tony Vallelonga, a Bronx bouncer with a penchant for gluttony who accepts a job driving a refined piano virtuoso (played […]
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“What Moonlight Gave Us Was the Confidence to Execute Our Ideas Without Fear”: Writer/Director Barry Jenkins on If Beale Street Could Talk
Writer-director Barry Jenkins solidifies his position as one of the current cinema’s most empathetic and visually (and aurally) expressive filmmakers with his third feature, If Beale Street Could Talk. Adapted from a 1974 novel by James Baldwin, the film tells the story of Tish and Fonny, a young couple whose dreams are cut short by Fonny’s wrongful imprisonment; moving back and forth between the early days of their love story and the brutal reality of their present, Jenkins crafts a masterpiece that is simultaneously achingly, hopefully romantic and unblinking in its portrait of social injustice. While Moonlight drew upon cinematic […]
