Directors
Interviews - Directors
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The POV Conversation: Stephen Maing and Lixin Fan on Growing Up with Film
Last year, to celebrate POV’s 25th anniversary, Filmmaker organized a series of conversations between documentary directors whose work had been featured on the PBS non-fiction showcase. This year, we continue this series with a fascinating discussion between Stephen Maing – whose debut feature on Chinese citizen bloggers, High Tech, Low Life, airs tonight on POV – with Lixin Fan, the Chinese filmmaker whose Last Train Home, an intimate portrait of a fractured family of migrant workers in China, won him great acclaim in 2009. In the first of this five-part discussion, the two discuss their early cinematic experiences. High Tech, […]
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Bangkok Dangerous: Nicolas Winding Refn on Only God Forgives
A superviolent and supremely strange Bangkok nocturne, Only God Forgives is Nicolas Winding Refn’s follow-up to his Cannes award-winning pop culture sensation Drive. This film, sure to be nowhere near as popular, is a distinctly less accessible affair. One senses that the filmmaker, a born contrarian, takes a certain pleasure in this. In both Thai and English, it meditates on a white man who trains child fighters and runs a family-operated drug ring with his brother. When said brother is dispatched via some brutal south Asian justice involving really sharp swords (after he is found to have rapped and killed […]
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Five Questions with The Punk Syndrome Directors Jukka Kärkkäinen and Jani-Petteri Passi
It’s not very punk to admit this, but out of all the films I’ve seen this year, the one that has activated my tearducts most often is The Punk Syndrome, directed by Jukka Kärkkäinen and Jani-Petteri Passi. The documentary details the rise of Finnish punk band Pertti Kurikan Nimipäivät (Pertti Kurikka’s Name Day), which has four members: Pertti, Kari, Toni, and Sami, all of whom are mentally handicapped. As we witness the band members grapple both with the pressures of rising fame and the pressures of the everyday condition, this spare documentary gathers an undeniable emotional power. The directors, relative […]
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Jessica Oreck on her new Web Series, This Working Man
Less than three months since she premiered her documentary, Aatsinki: The Story of Arctic Cowboys, at the Tribeca Film Festival, Jessica Oreck is both on the road and back with new work. This Working Man is a web project combining video portraiture, travel, and crowdsourced curation. From the project’s website: This Working Man is a series of short portraits of men at work. It is about practiced motion, kinetic movement, bodies, and forms. It is about a particular type of man: exceedingly capable, strong, confident, and diligent. The project is a search for humble masculinity and an unapologetic admittance of […]
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Medium Specific: An Interview with Computer Chess Director Andrew Bujalski
Andrew Bujalski’s Computer Chess is the most daring feature film of the year. A bewildering and baffling trip back in time (to circa 1980), the movies follows a group of four-eyed super-nerds engaged in a unique chess tournament – in which their carefully designed computer programs face off against each other. Shot on 43-year-old video equipment (the Sony AVC3260, one of the earliest consumer cameras), the movie looks like a lost artifact from another era — with soupy black-and-white images that take on a ghostly pallor. If Bujalski is known for his lo-fi minimalist human comedies Funny Ha Ha, Mutual […]
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Ryan Coogler Talks with Ava DuVernay about Fruitvale Station
A year ago next week Filmmaker audiences met for the first time writer/director Ryan Coogler, as we featured him in our 2012 “25 New Faces” list. Here’s my profile: Ryan Coogler remembers the first moment it occurred to him to become a film director. Having grown up in Oakland, Coogler was on a football scholarship to Saint Mary’s College in Moraga, Calif., where he had to take a creative writing class. The assignment was to write about a personal experience, and Coogler wrote about the time his father almost bled to death in his arms. He handed it in, and […]
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Cullen Hoback on Terms and Conditions May Apply
Every mouse-stroke you make, every search query you use, is being recorded, one way or another, usually by powerful and insidious entities who have no incentive not to sell this information to the highest bidder. Its exchange for copious storage on your web-based email service, and cloud-empowered music players that allow you to play Gil Scott-Heron records, long out of print, night and day, comes a cost that is pervasive and hidden. Your privacy. Oh, and a tremendous amount of monetary value that you likely never knew you created. Shucks. Cullen Hoback’s thoughtful and, in the age of Snowden, all […]
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The Long Shoot: 10 Questions for Calling My Children Director David Binder
For 25 years, first as still photographer and then as filmmaker, David Binder doggedly chronicled the Farrow family. The mother/wife dies … husband grieves and copes … four young sons struggle and mature … and for 25 years David Binder captures the story. Binder’s initial photo essay on the Farrow family was published by In Health magazine in 1990, and updated a decade later in Life magazine. His Farrow photographs were displayed in several major exhibitions, including at Harvard AIDS Institute and in 40 cities for the United States Centers for Disease Control. A decade later he made a short documentary […]
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Drew DeNicola and Olivia Mori on Big Star: Nothing Can Hurt Me
It’s a golden era for “forgotten musical acts of the ’60s and ’70s” docs. While Malik Bendjelloul’s Searching for Sugar Man took home the BAFTA and an Academy Award for Best Documentary earlier this year, following a wave of acclaim after its Sundance premiere, films like Jeff Howlett and Mark Christopher Covino’s A Band Called Death, Jay Bulger’s Beware of Mr. Baker and Morgan Neville’s Twenty Feet from Stardom have ridden the festival circuit praise to their own well-received releases in recent months. Next in line is Drew DeNicola and Olivia Mori’s Big Star: Nothing Can Hurt Me, an assured, rather handsome look at the […]
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Production, Post-Production and Lessons Learned: Shooting the Low-Budget Horror Movie Dark Feed, Part Two
In part two of our interview with brothers Michael and Shawn Rasmussen, the writers and directors of Dark Feed, they talk about the lessons learned during the production and post-production of a low-budget movie. Filmmaker: How large was the crew for the Dark Feed shoot, and how many days of shooting were there? Michael: There was Shawn and I, and we had two sound people – one to hold the boom and one to work the recorder – and a d.p. to also run camera. We had people come in and do other jobs like set building, but on a […]
