Sundance Responses
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“Nobody Shot a Feature Film on 16mm in Lithuania for a Long Time”: DP Laurynas Bareiša on Slow
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“Be Very Conscious About Pruning Unnecessary Branches”: Editor Silvija Vilkaite on Slow
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“Participants Were Spread Over 10 Countries” | Laura McGann, The Deepest Breath
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? Starting out, I was acutely aware that freediving was a really intriguing world that I knew nothing about; I had a lot to learn before I could start to understand the powerful story of our central subjects, Stephen and Alessia. We spent hundreds of hours having conversations with over 50 people on Zoom to learn more. It became clear that […]
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“I Saw the Benefits of Technology” | Amanda Kim, Nam June Paik: Moon Is the Oldest TV
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? I’m sure many productions experienced this unforeseen obstacle, but no one expected a pandemic in early 2020. And at the height of it when the world was shutting down, our production was scheduled to begin. I wasn’t sure when and how we were going to continue production. But during the quiet of the first couple of months in lockdown and […]
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“It Wasn’t Clear That They Would Even Qualify for the State Competition” | Alejandra Vasquez and Sam Osborn, Going Varsity in Mariachi
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? The varsity mariachi team that we had chosen to focus on had historically been one of the best in the state. We’d filmed with the team two years earlier and had immense respect for the coach and his program. And although he’d warned us that the team was heading into a “rebuilding year,” we weren’t prepared for the impact that […]
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“A Herd of Wild Elephants Was About 50 Meters Away” | Richie Mehta, Poacher
Every production faces unexpected obstructions that require creative solutions and conceptual rethinking. What was an unforeseen obstacle, crisis, or simply unpredictable event you had to respond to, and how did this event impact or cause you to rethink your film? Since we were making a series about wildlife crime, and those trying to protect wildlife, much of it was shot in a jungle in South India. And since those areas are lush with flora and fauna, it became important not to disrupt that environment whilst there, nor (and this goes without saying) get injured or die in the process from […]
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“I Couldn’t Watch the Footage Right Away” | Marija Kavtaradze, Slow
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“I Couldn’t Even Tell You Who Cut What”: Editors Brett Banks and Chris Iversen on Willie Nelson & Family
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“It Was up to the Subject To Choose Their Own Eyeline”: DP Bobby Bukowski on Willie Nelson & Family
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“Figuring Out How and When to Peel Back the Layers of the Story Was Crucial”: Editor David Mehlman on Murder in Big Horn
The epidemic of Missing and Murdered Indigenous Women (MMIW) in Montana’s Big Horn County and its surrounding areas is the focus of the doc Murder in Big Horn from directors Razelle Benally and Matthew Galkin. With dozens of young women and girls from Crow and Northern Cheyenne Nations having gone missing over the past decade, the filmmakers utilize interviews with grieving loved ones, Native journalists and local law enforcement to try and understand the circumstances surrounding these tragic cold cases. Editor David Mehlman talks about cutting the three-part docuseries, including his longstanding collaboration with much of the team involved. See […]
