Interviews
Interviews
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“It’s Quite a Scary Responsibility, Making a Film”: David Mackenzie on Hell or High Water
Hell or High Water is a no-nonsense, confidently executed thriller, operating in the same tone and terrain as Rolling Thunder and No Country for Old Men. Two brothers — Toby (Chris Pine) and Tanner (Ben Foster) — pull off a series of bank robberies across Texas, raising money for a purpose revealed halfway through the film. Even before that disclosure, the subtext is firmly on economic dispossession and the role financial institutions play in suckering the small customers they ostensibly service (this may well be the first film in which a reverse mortgage — pace the late Fred Thompson — serves as a major […]
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“The Biggest Challenge was Working Amidst the Radiation”: Jake Price on The Invisible Season
Just days after the March 2011 tsunami in Japan, Brooklyn-based photojournalist and documentarian Jake Price made his way to the Tohoku region of northern Japan, the area hardest hit by the devastation. He stayed for months, and the result was Unknown Spring, an engaging interactive documentary that he spoke with me about when it was released in 2013. Unknown Spring focused on the catastrophe of the tsunami itself, but even before finishing it Price knew that he wanted to follow it up with another project on the less visible but longer lasting catastrophe of radiation from the hydrogen explosions at […]
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Daniels’ Possibilia Explores the Possibilities of Interactivity
Billed as an “interactive love story set in the multiverse,” Possibilia, a short film from the dynamic writing/directing duo known as Daniels, tells the story of a couple (Alex Karpovsky and Zoe Jarman) on the verge of a break-up with 16 potential outcomes that are left to the viewer. The project, which screened at both Sundance, Tribeca, and other festivals back in 2014, now gets an online release over at Eko (previously Interlude), the interactive video creation platform. Like Daniels’ recent feature Swiss Army Man, Possibilia relies on humor to subvert the genre and push the conventions of the medium. Filmmaker recently […]
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Every Film Is a Consciousness Working Through an Idea: Bingham Bryant and Kyle Molzan on For the Plasma
As an anxious, post-youth New York City cinephile with a dismaying penchant for missing out, I found For the Plasma, Bingham Bryant and Kyle Molzan’s debut feature, an intimidatingly hep first watch. The tone, somewhere between goofy and morbid, between airless and chaotic. The horror-red title font. The surprisingly fun synth score. The high-waisted jean shorts. The blondeness. After I saw it at its sold-out premiere screening at BAMcinemaFest, way back in the spring of 2014, I scrambled to get ahead of the young, well-spoken directors’ influences, hoping to solve their self-proclaimed “digital-pastoral” puzzle the way I thought I knew […]
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Susan Seidelman on Smithereens, Fashion Influences and the Early Days of Public Access TV
In the opening shot of Smithereens, a pair of checkered black-and-white sunglasses dangle in the frame. Self-starter Wren (Susan Berman) swoops in, grabs them from the owner and keeps pushing through the subway station as if nothing’s happened. Wren wants to be in a band, but she doesn’t have any discernible abilities besides her fabulously on-point New Wave fashion sense. When not working a crappy copy store job, she’s going to shows and plastering up Xeroxes of a black and white still of herself all over the city, trying to drum up some kind of attention for herself. She only has eyes […]
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Screenwriter Eric Heisserer on Lights Out, The Rules of Horror and Collaborating with James Wan
Eric Heisserer bristles at the label of horror movie screenwriter. It’s understandable. While his produced credits include a Final Destination sequel and the remakes of The Thing and A Nightmare on Elm Street, Heisserer points out that he has authored 56 feature film scripts and only eight of them have been in the horror genre. That connotation may change later this year when Heisserer’s screenplay for the sci-fi film Arrival hits screens from Prisoners and Sicario director Denis Villeneuve. But for now Heisserer and I are talking about Lights Out, a new horror offering based on director David F. Sandberg’s […]
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Danny DeVito on The Ratings Game, Storyboarding and Test Screenings
In 1984, Danny DeVito made one of the most assured and entertaining directorial debuts in comedy history when he helmed The Ratings Game, a hilarious satire that premiered on Showtime only to disappear from circulation in the decades that followed. The movie tells the story of a New Jersey trucking mogul (DeVito) who moves to Los Angeles with dreams of making it in the TV business. When he falls in love with a woman (Rhea Perlman) who works for a ratings service, he figures out a way to rig the system in his favor, rising to the top with a […]
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Locking Gaze: Kirsten Johnson on the Images of Her Thrilling Documentary, Cameraperson
Both memoir and essay film, Kirsten Johnson’s Cameraperson is an astonishing work of cinematic analysis and alchemy. Comprised of material shot by Johnson for 24 different documentaries over a span of 25 years, it’s a movie made up of fragments, globetrotting scenes that tumble one after the other, announced by title cards listing the location and year of the footage but not the director. Included, too, in the footage is personal material, some for film projects of Johnson’s that have yet to be realized and some home movies shot of her mother in the months before she died of Alzheimer’s. […]
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Time for Outrage: James Schamus on Indignation
Whether he is pitching a movie, essaying the work of Carl Theodor Dreyer or teaching his Columbia Film Program students Kant’s Critique of Pure Reason, writer, producer and now director James Schamus understands the power of discourse. In fact, if you’re a longtime Filmmaker reader, you’ll have read his arguments in these pages over the years, from his “Long Live Indie Film” debate with Ted Hope back in the ’90s of their production company, Good Machine, to his more recent — and mortal — “23 Fragments on the Future of Cinema” just a few issues ago. Now, Schamus continues one […]
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In Dark Trees: David Lowery on Pete’s Dragon
David Lowery has directed love stories about siblings, spouses, parents and children, so it follows logically that his next film would be a love story between an orphan and his dragon. Pete’s Dragon, Lowery’s nominal remake of the 1977 Disney film, lives in a tender, magical world that exists outside of time, in the wilderness of childhood imagination. The wonder, lack of cynicism and strong imagery of the natural world evoke cinema of the late ’70s and early ’80s; The Black Stallion and E.T. come to mind. Lowery seems fascinated by the stories we tell ourselves, the tall tales, the […]
