Sundance
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“Wheelchairs, Crutches and Canes Take on New Shape and Meaning”: Nicole Newnham and Jim LeBrecht | Crip Camp
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The props—or tools—of the everyday lives of people with disabilities are part of the fabric of Crip Camp, present in every scene of the band of campers-turned-friends that our film traces through the 1970’s. In Crip Camp, wheelchairs, crutches and canes take on new shape and meaning: campers aren’t “wheelchair bound” […]
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“The Main Painting That Is Stolen Is of a Dead Swan”: Benjamin Ree | The Painter and the Thief
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The most important objects in our film are the missing paintings. The film is about a painter and a thief. Two paintings are stolen from Oslo-based artist Barbora Kysilkova, and the police catch the thieves but the paintings are never found. Barbora attends the court case hoping to find clues for […]
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The Sundance Question: What Prop or Piece of Set Decoration is Particularly Integral to Your Film?
Each year Filmmaker asks all the incoming feature directors at Sundance one question. (To see past years’ questions and responses, click here.) This year’s question: Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? (Check back daily during the festival — new answers are uploaded each day throughout the festival.) “It is An Object That Should Not Belong to That World”: Maite […]
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“The Biggest Goal is to Keep the Story Visually Interesting”: DP Tarin Anderson on Corporate Animals
Corporate Animals gives Demi Moore a rare chance to show her comic skills. As Lucy, the awful CEO of a new company, Incredible Edibles, Moore orders her employees on a team-building exercise/retreat via a New Mexico cave. When the workers are trapped, it’s only a matter of time before they becomes the Incredible Edibles. Via email, DP Tarin Anderson addressed the challenges of making a film tracking eight characters in a closed setting. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? […]
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“The Feedback Screenings were Essential”: Editor Colin Campbell on The Hole in the Ground
The feature directorial debut from Irish filmmaker Lee Cronin, The Hole in the Ground follows the ominous goings-on after a couple and their young child move to a new cottage in rural Ireland (where their neighbors include Aki Kaurismäki regular Kati Outinen). Next to the cottage is the titular hole in the ground, and that causes all kinds of problems as their child is possibly possessed. Via email, editor Colin Campbell discussed his latest collaboration with longtime friend Lee Cronin. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to […]
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“Treat the Material Like a Thriller”: Editor Andrea Lewis on Where’s My Roy Cohn?
Acquired by Sony Pictures Classics after its premiere at Sundance, Matt Tyrnauer’s Where’s My Roy Cohn? reexamines the life and legacy of lawyer/fixer/conservative power broker Roy Cohn. Taking its title from a quote from President Donald J. Trump, Tyrnauer’s documentary draws a line from Cohn to the present. Via email, his regular editor Andrea Lewis discussed her work on the film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Lewis: I have worked with director Matt Tyrnauer and producer Corey Reeser on […]
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“Twelve Hours Later and a Few Glasses of Wine to the Good and the Sequence was Finished”: Untouchable Editor Andy Worboys
The first Harvey Weinstein documentary post-Weinsteingate, Ursula Macfarlane’s Untouchable examines the mogul’s fall through the fresh testimony of many of those he assaulted. Intended first and foremost as a work of journalism, Macfarlane’s film was edited by Andy Worboys, fresh off his work on the TV documentary Hillsborough, a re-examination of the death of 96 people during a 1989 soccer match. Via email, Worboys discussed his work preserving the testimonies of those who spoke on camera for Untouchable. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired […]
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DP Jomo Fray on Selah and the Spades and Drawing Inspiration From Rihanna’s ANTI
Tayarisha Poe is a former 25 New Face of Film; her feature debut, Selah and the Spades, teams her with another New Face, cinematographer Jomo Fray. The titular Selah (Lovie Simone) attends a prep school where, with ferocious discipline, she manages her gang, the Spades. Via email, Fray discussed his long-in-the-making collaboration with Poe. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Fray: The director, Tayarisha Poe, and I met a few years ago about the project and pretty quickly became totally […]
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“The Very Opening is Always the Hardest to Cut “: Editors Elisa Bonora and Veronica Pinkham on David Crosby: Remember My Name
Legendary musician (and salty Twitter presence) David Crosby hits the tour road again in David Crosby: Remember My Name, an intimate biographical portrait by A.J. Eaton. The film, which premiered at Sundance, had two editors. Via email, both Elisa Bonora and Veronica Pinkham shared their perspectives on working on this film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Bonora: In 2013 I edited, and was nominated for an ACE for, a documentary film called Glen Campbell: I’ll Be Me. The director, […]
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“Sometimes the Craziest Feedback Leads to Some Really Great Ideas in the Editing Room”: Editor Eleanor Infante on Late Night
One of the biggest acquisitions at this year’s Sundance, Nisha Ganatra’s Late Night tracks Molly (Mindy Kaling, who wrote the screenplay), a new staff writer on a long-running late night show hosted by Katherine Newbury (Emma Thompson). The film was purchased by Amazon for $13 million. Via email, its editor, Eleanor Infante, spoke to her work on the film, the latest in a long collaboration with director Ganatra. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Infante: Nisha Ganatra and I first […]
