Interviews
Interviews
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“Creating a Mood and Tone Is the Most Impactful Element of Cinematography”: David Bolen on Thelma
In a modestly scaled riff on action movies, Thelma follows a 93-year-old grandmother on a quest for justice after falling victim to a phone scammer claiming to be her grandson. The film, which is inspired by director Josh Margolin’s own grandmother, stars June Squibb in the lead role. Below, cinematographer David Bolen (Some Kind of Heaven, Untold) discusses his inspirations for the look of the film’s San Fernando Valley setting and how the crew pulled off one particularly difficult scene. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer […]
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“Each Day Was a White-Knuckle Ride”: DP Ryan Kernaghan on Kneecap
In Kneecap, Rich Peppiatt depicts the rise of the eponymous Belfast-based rap trio, who have become unlikely leaders of a movement to save the Irish language. The 2024 Sundance premiere is the festival’s first ever Irish language film, as well as the first film from outside the United States to screen in the NEXT section. Below, cinematographer Rich Kernaghan explains how he found a visual language for the film and how the crew managed such an ambitious location shoot on such a tight schedule. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind […]
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“We’d Have These Practical Conversations About How Sex Would Be Achieved in These Costumes”: Costume Designer Holly Waddington On the Historical Rule-Breaking of Her Work in Poor Things
A feminine coming-of-age film by way of Frankenstein, Yorgos Lanthimos’ gorgeously designed Poor Things follows Bella Baxter (Emma Stone), an unhappy and suicidal woman brought back to life by the enigmatic scientist Baxter (Willem Dafoe), and then embarking on a feminist journey of equality and sexual liberation. Bella’s voracious appetite for all the colors of life and sex (as well as Lanthimos’ signature maximalist touches) infuses Poor Things with boundless exuberance, matched by costume designer Holly Waddington’s extraordinary work—both late-19th-century, and fiercely modern and rule-breaking. “I realized that I would need the clothes to really move with her, not just […]
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“David Initially Said, ‘What if We Do the Whole Movie Handheld?'”: DP Erik Messerschmidt on The Killer
The Killer begins with an assassin (Michael Fassbender) in a half-completed WeWork office awaiting the arrival of his latest target. As he waits, he details his vocational mantras for the audience in voiceover: stick to the plan. Don’t improvise. Never yield an advantage. Forbid empathy. Fassbender proceeds to miss his shot and spends the rest of the film breaking each and every one of those tenets in the chaotic aftermath. Many of the pieces written about the film have pointed out perceived similarities between the film’s methodical, detail-oriented titular character and the perfectionist reputation of its director, David Fincher. However, […]
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“Victim Cinema is for People that are Convinced”: Felipe Gálvez on The Settlers
The Settlers simulates several different types of Westerns without committing to one mode. The set-up of Felipe Gálvez’s first feature is classic: Scottish soldier MacLennan (Mark Stanley), American mercenary Bill (Benjamin Westfall) and their Chilean mestizo guide Segundo (Camilo Arancibia), who’s been pressed into service from a chain gang, are sent on a mission by landowner José Menéndez (Alfredo Castro). Making their way on horseback across the Chilean landscape, the three are captured in long zooms and accompanied by the booming tympani of Harry Allouche’s orchestral score. If that music places The Settlers somewhere in the realm of ’50s westerns, […]
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“If I Had Been Working in the 1970s [But With Today’s Technology], I Would Have Used Digital, I Would Have Used LED Technology”: The Holdovers Cinematographer Eigil Bryld
In The Holdovers, a professor, a student and a grief-stricken cook are stranded together at a New England boarding school over the holidays. The story takes place in the early 1970s, an era whose films are beloved by both Holdovers director Alexander Payne and cinematographer Eigil Bryld. However, they took opposing philosophical perspectives in imbuing their movie with the spirit of that epoch. Though he looked at the work of Hal Ashby for inspiration – particularly The Landlord and The Last Detail – rather than attempt to replicate it, Payne’s approach found him imaging what kind of film he himself […]
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“I Don’t Want to Corner You”: Michel Franco on Isolation, the Commonality of Trauma and Memory
In nearly all of his eight narrative features, Mexican director Michel Franco has worn his appetite for the most distressed and tormented of human dramas on his sleeve. His characters have vascillated between acts of abject cruelty and silent, practically stoic indifference to their own behaviors, as well as the rueful consequences of their often misguided choices. With each new entry in Franco’s body of work, his approach displays a deft hand for framing and a keen eye for the subtleties of the human condition. In the case of his new Memory, premiering in U.S. theaters today after bowing at […]
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Cinema of Bread and Roses: An Interview with Maggie Renzi and John Sayles
Near the end of Matewan (1987), socialist union organizer Joe Kenehan (Chris Cooper), a guiding light and galvanizing force for a West Virginia town of striking coal miners under siege, attempts to console frustrated young Danny Radnor (Will Oldham), a nascent preacher and union man. Overwhelmed by the violence and hardships they’ve suffered, the boy gives into despair, declaring in rage and desperation that it’s every man for himself. Joe’s stirring reply is that they must all look after each other, no matter what. Though followed by a long-brewing scene of climatic violence, this quiet but deeply moving moment between […]
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Creative Reactions: Cinematographer Hoyte van Hoytema on Oppenheimer
When it comes to the machinery of moviemaking, cinematographer Hoyte van Hoytema refuses to be constrained by the bounds of technological precedent. For van Hoytema, “That doesn’t exist” or “That’s never been done” isn’t the end of a conversation, but rather a puzzle to solve. Oppenheimer, a look into the life of the titular physicist (played by Cillian Murphy) and his role in the creation of the first atomic bomb, offered several such puzzles. To enable van Hoytema to capture macro shots in a water tank on gargantuan 15-perf 65mm IMAX cameras to depict physicist J. Robert Oppenheimer’s visions of […]
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Behind Closed Doors: Production Designer Kevin Thompson on Maestro
In making Maestro, his magisterial portrait of Leonard Bernstein, Bradley Cooper set out to explore the life of the legendary American conductor and composer through the lens of his complicated relationship with wife Felicia Montealegre, which lasted from the 1940s until her death in 1978. Depicting their love story across four decades, two engagements and three children, Cooper—who directed, co-wrote, co-produced and starred in the biopic—often approached Maestro “as if he was conducting a musical symphony,” according to production designer Kevin Thompson. Envisioning its story in movements, Cooper opted for period shifts in color and black-and-white (both in a 1.33 […]
