Sundance
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“An Endeavor of Structuring Chaos”: Director Cameron Yates | Chef Flynn
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? Crafting a documentary that’s been filmed for over a decade by many different people with countless cameras was an endeavor of structuring chaos, and credit goes to our dauntless editor Hannah Buck. After staring glassy-eyed at our screens for hours one particularly distressing day in the fall of 2016, we canceled work for the rest of […]
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“A Political Thriller with Everything You Want to See in a Movie”: DP Bjorn Charpentier on Beirut
Director Brad Anderson returns to Sundance for a sixth time with Beirut, a political thriller from screenwriter Tony Gilroy (Michael Clayton, The Bourne Identity). The film stars John Hamm as a U.S. diplomat who returns to Beirut after his wife was murdered there 10 years prior. Belgium-born DP Bjorn Charpentier shot the film with the work of David Fincher and Roger Deakins in mind. Below, he gets technical with his approach to lighting and lenses on the film. Bleecker Street Media will release Beirut theatrically on April 13. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the […]
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DPs Axel Schneppat and Max Preiss on Filming the “Digital Scavengers” of The Cleaners
One of 12 films to compete in the World Cinema Documentary Competition at Sundance this year, The Cleaners tells the story of so-called “digital scavengers.” These are individuals outsourced by Silicon Valley companies to delete supposedly inappropriate content from the internet. The Cleaners takes place in a nocturnal Manila designed to evoke Blade Runner and Gotham City. The film’s cinematographers – Axel Schneppat and Max Preiss – spoke with Filmmaker before the film’s five showings at Sundance. Below they discuss the cinematic challenge of shedding “light on an industry virtually kept in the dark.” Filmmaker: How and why did you wind up […]
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“Our Computers Were Crashing Roughly Six Times a Day”: Director Aneesh Chaganty | Search
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your work? Our movie was supposed to be completed on March 3, 2018. On February 28, five days away from our deadline, we didn’t have a single finished frame. CUE FLASHBACK. Search is a hyper-modern thriller that unfolds entirely on computer screens. We wanted it to be engaging, thrilling and most of all: cinematic. And we knew exactly […]
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David Gutnik on Editing the Psychological Thriller NANCY Starring Andrea Riseborough
Writer/director Christina Cho and editor David Gutnik met during their time at Columbia University’s MFA Film Program. Gutnik edited Cho’s thesis film, I Am John Wayne, which won the Grand Jury Prize for best short film at Slamdance in 2012. Their new film together, NANCY, is one of three films at the 2018 Sundance Film Festival to star Andrea Riseborough. Below, Gutnik discusses the genre elements of this psychological thriller and how he sought to ensure that “every edit is connected to the central nervous system of the character, and by extension the soul of the film.” Filmmaker: How and why did you […]
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“Unpredictable, Loud, Hot, and Dangerous”: Director Michael Dweck | The Last Race
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? The track where we shot The Last Race was a reflection of the speedway next to my childhood home where I would sneak under the fence to watch races on hot Saturday summer nights. Later, as an adult, I spent years creating still photographs there, and during that time, I lived and breathed the world of […]
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“I Wanted My Cinematography to Embrace the Ugly and Mundane”: DP Drew Daniels on Arizona
Prolific cinematographer Drew Daniels has shot more than 40 shorts and features since 2009. His recent credits include the films of Trey Edward Shults (Krisha and It Comes at Night) and the SXSW-winning short Thunder Road. Daniels was tapped by first-time feature director Jonathan Watson to shoot Arizona, a darkly comic thriller featuring Danny McBride, Rosemarie DeWitt and Seth Rogen. Below, Daniels discusses the film’s visual influences, his love of natural light and capturing the “dusty, burnt out quality of the suburban Southwest.” Arizona screens in the Midnight lineup at the 2018 Sundance Film Festival. Filmmaker: How and why did you wind […]
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Editor Tom Maroney on the International Science and Engineering Fair Documentary Science Fair
Tom Maroney has worked as an editor on more than a dozen documentary TV series for the Discovery Channel, PBS, National Geographic, MTV and other channels. In 2017 he edited Nobody Speak: Trials of The Free Press, which premiered at Sundance and was released by Netflix. He returns to Sundance this year for Science Fair, a documentary in the Kids program of the festival. Maroney speaks with Filmmaker below about the film’s character-driven approach and how he and directors Cristina Costantini and Darren Foster sought to structure a film around a competitive science fair when “it was clear from the beginning that […]
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“The Story Is Not about the Actual Shooting”: DP Patrick Scola on Police Brutality Drama Monsters and Men
One of Filmmaker‘s 25 New Faces of Independent Film in 2015, Reinaldo Marcus Green makes his feature debut as a writer/director with Monsters and Men. The film tells the story of a police shooting and its aftermath in the community of Bed-Stuy, Brooklyn. Green hired cinematographer Patrick Scola (Southside with You) to shoot the film, which screens in competition at the 2018 Sundance Film Festival. Ahead of the film’s premiere, Scola spoke with Filmmaker about how he sought to blend both “naturalism” and “heightened reality” in the film’s visual approach. Filmmaker: How and why did you wind up being the cinematographer of your […]
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“The More I Pressured Him, the Worse He Performed”: Director Isabella Eklöf | Holiday
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? On the first day on set I realized I had an actor on my hands who hadn’t learnt his lines “because he didn’t think this was that kind of film.” The more I pressured him, the worse he performed. Our relationship deteriorated throughout the whole shoot as I kept pushing him. Not until in the edit […]
