Interviews
Interviews
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“This Little Live Show I was Doing on the Board”: DP Larry Sher on Joker
The Gotham City of Joker is a mere fraction of a degree removed from the New York City of 1981, a time and place Larry Sher knows well. The Hangover and Godzilla: King of the Monsters cinematographer grew up in nearby Teaneck, New Jersey and would sneak into the city on the bus as a teenager in the early 1980s. Sher channeled those experiences—as well as the seminal New York films of the era—to evoke the alienating urban nightmare of Gotham. “My approach for Joker was to feed a little bit off of what the city looked like in my […]
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“It’s Like the Secret Bar or Restaurant in NYC That You’re So Privileged to Discover First….”: Beth Aala on Made in Boise
When one thinks of Idaho, potatoes — not pregnancy — immediately comes to mind. Made in Boise, however, the latest from award-winning filmmaker Beth Aala, will forever change how one views this rugged northwestern locale. Following four gestational surrogates, all devoted mothers with children of their own, who carry babies for women and men (often gay singles and couples) both nationwide and around the world, the doc is an eye-opening look at how this red state-based “unofficial surrogacy capital” of the US is redefining family in surprisingly progressive ways. Filmmaker caught up with Aala (Rancher, Farmer, Fisherman, Supermensch: The Legend […]
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“We Have a Contract with our Audience that We Need to Look Behind the Doors”: Marcus Vetter on His Davos Doc The Forum
When one thinks of the World Economic Forum many words come to mind: Davos, global elite, Bono. One term that decidedly does not is transparency. Which is what makes Marcus Vetter’s The Forum all the more remarkable. With this fly-on-the-wall doc the German director (The Forecaster) becomes the first filmmaker ever to be granted behind-the-scenes access to the exclusive organization. Vetter follows the WEFs octogenarian founder Klaus Schwab from the run-up decision-making (Who to pair with Netanyahu? Who’s moderating the Bolsonaro? Who gets a souvenir cowbell?) all the way through the glitzy event itself (one attended by both the Amazon-pillaging […]
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“A Scare is an Algorithm”: DP Checco Varese on It Chapter Two
Read a few Checco Varese interviews and you’ll quickly discover that the Peruvian cinematographer likes to talk about his job through similes and metaphors. He’ll compare cinematographers to chefs who shop at the same store and cook with the same ingredients, yet create distinct dishes. He’ll say that partnering with a director is like partnering in a marriage (sometimes for Varese that’s literally true–his wife Patricia Riggen is a director and frequent collaborator). He’ll tell you that a good scare is like an algorithm or that crafting a suspense sequence is akin to nurturing a plant. For It Chapter Two, […]
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Phillip Youmans on Making His Feature Debut, Burning Cane, at Age 19
Phillip Youmans isn’t sure if he’s returning to New York University. He’s a sophomore at the venerable institution, but he took the fall semester off because he’s a little busy. Last spring, during the second semester of his freshman year, the filmmaker’s debut feature, Burning Cane, won three awards at the Tribeca Film Festival: Narrative Feature, Cinematography (for him), and Actor for co-lead, the estimable Wendell Pierce. Its executive producer is Benh Zeitlin, of Beasts of the Southern Wild, and it’s being released by Ava Du Vernay’s Array, who arranged a two-city theatrical release before its Netflix drop on November […]
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Filming in the Golf Cart Capital of the World: Jocelyn DeBoer and Dawn Luebbe on Greener Grass
The cinematic equivalent of the popular improv exercise “Yes, and…,” Jocelyn DeBoer and Dawn Luebbe’s feature directorial debut, Greener Grass, opens on an extreme instance of absurdity and gobsmackingly builds from there. In picturesque suburbia, competition runs thick amongst cutthroat nuclear families, neighborhood pool parties are all the rage and mom and dad travel to and from soccer practice via the tacky family golf cart. Co-starring the film’s directors as housewives who develop a grating rivalry, the film opens with Jill (DeBoer) giving up custody of her baby daughter to Lisa (Luebbe). Why does Jill do this? Because Lisa expresses interest […]
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“If You Have Racist Beliefs, They Want You to Say So at Dinner”: Yaara Sumeruk on Her Doc Short, If We Say That We Are Friends
Making its world premiere at the recently concluded Camden International Film Festival was New York-based, Argentinian/South African director Yaara Sumeruk’s short doc, If We Say That We Are Friends, which, in a taut 17 minutes, sits the viewer down into the midst of a warmly unusual conversation on race taking place across dinner tables in the Cape Town South African township Khayelitsha. The organizers of Dine with Khayelitsha arrange for relatively well-off South Afrikaners from the city to hear first-hand about life in the townships by joining residents for dinners of African food in their homes. (Formed in 2015, the […]
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“It Was a Story that Played Out Almost as a Psychological Thriller and Yet it was True”: Ed Perkins on Tell Me Who I Am
Tell Me Who I Am, the Telluride-premiering feature from Academy Award-nominated (for Best Documentary Short Subject) director Ed Perkins, digs into the stranger-than-fiction saga of Alex Lewis, one half of an identical set of twins, who at the age of 18 lost his memory in a motorcycle accident. Upon awakening from a coma the only person Alex was able to recognize was his brother Marcus — the mirror image he would come to rely on to relearn pretty much everything, from the mundane (down to brushing his teeth) to his very sense of self. In turn, Marcus devotes himself wholeheartedly […]
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“A Black and White Movie in a Stupid Aspect Ratio”: Robert Eggers on The Lighthouse
Eulogized debuts draw ravenous, patient cynics, who stalk the scent of a fledgling’s success to their second movie, hoping their foe might slip. Robert Eggers, a name of contention after headlines announced he would remake Nosferatu (TBD) before his Sundance debut The Witch was released theatrically for audiences to decide if he were worthy themselves, has made his second move. The Lighthouse, a sophomore effort especially susceptible to readied blows, has made it back with critics on the festival circuit and will now see appraisal from the mainstream on its theatrical bout. But the film expels farts and sailor vulgarity, an […]
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Sibling Subterfuge: Choi Woo-Shik and Park So-Dam on Parasite
Bong Joon Ho may have shifted his subject from genetically engineered super pigs (Okja) and setting from a speeding, class-stratified train (Snowpiercer), but it’d be wrong to assign his Palme d’Or winning Parasite to a new league of subtlety. That’s not a knock — vulgarity is the name of the game for this “Korean New Wave,” in which Bong, and now Parasite, have an evolving role. Bong’s metaphors have shrunk in size for his latest, but they’ve increased in number, becoming part of a loud, meta, and self-parodying dialogue. Ki-woo (Choi Woo-Shik), the son in Parasite‘s working-class family, interacts with […]
