Sundance Responses
-
“I Was Determined to Find a Home That Had a Pass-Through Window Separating the Kitchen From the Eating Area”: Liz Garbus | Lost Girls
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? “But does it have a pass-thru?!” At one point during our location scouts, someone suggested this be put on our film’s t-shirt. Why? When looking for one of our main locations, Mari’s (Amy Ryan) house, I was determined to find a home that had a pass-through window separating the kitchen from […]
-
“The Film’s Main Characters: Ren, Stimpy and John K”: Directors Ron Cicero and Kimo Easterwood | Happy Happy Joy Joy: The Ren & Stimpy Story
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 opening of Happy Happy Joy Joy proved challenging. For an audience unfamiliar with Ren & Stimpy, we needed to get them up to speed as quickly as possible as to the show’s significance while simultaneously introducing them, and providing insight into, our main character, John K, the series creator. Shooting inserts of vintage television sets amongst the hundreds of […]
-
“We Knew We Would Never Satisfy Everyone”: Editor Tal Ben-David on Hillary
Hundreds of hours of 2016 campaign footage, archival documents and original interviews are edited together in order to portray a more nuanced portrait of one of America’s most divisive political figures in Nanette Burstein’s Hillary. Just a few days ago, Clinton’s remarks concerning Senator Sanders during an interview with The Hollywood Reporter for Hillary already had prospective viewers either elated or outraged—the unflinching look at Clinton’s campaign and how it mirrors her own political history might very well leave viewers with similar sentiments. Editor Tal Ben-David explains her extensive working relationship with Burstein and why she believes a cultural re-evaluation […]
-
“The First Thing I Look at Is the Subject’s Face”: DP Bob Chappell on Hillary
It often seems as if there’s no way to have a neutral stance on Hillary Clinton—she is often represented as being hailed as some sort of centrist deity or reviled by many who find her gratingly milquetoast. Nanette Brstein’s documentary Hillary—slated to be available through Hulu—will attempt to dissect the mythology around Clinton and present her as a fallible yet resilient political figure. DP Bob Chappell spoke about his excitement about the project, the difficulties of making talking head interviews reclaim a sort of cinematic appeal and the importance of lighting. Filmmaker: How and why did you wind up being […]
-
“I Like the Widening Circles One Can Consult During an Edit”: Editor David Charap on The Reason I Jump
Based off of the book written by 13-year-old Naoki Higashida, Jerry Rothwell’s The Reason I Jump aims to translate the experiences of non-verbal autistic people in a way that is honest and multifaceted. Choosing not to simply concede to the opinions of parents and specialists, the documentary aims to break the assumption that divergent ways of experiencing the world are not abnormal, and communication can transcend language and actions. Editor David Charap speaks to the unique experience of having a nonverbal group of individuals explain the intricacies of their everyday lives to an audience through imagery and imagination. Filmmaker: How […]
-
“A Fun Balancing Act”: DP Ruben Woodin Dechamps on The Reason I Jump
Jerry Rothwell’s The Reason I Jump universalizes the experiences nonverbal autistic youth, who are often denied the opportunity to uniquely express their feelings, emotions and dreams without misunderstanding and translation. Based off the book of the same name written by a 13-year-old named Naoki Higashida, the film follows the lives of several nonverbal autistic youths scattered all over the world, showcasing their distinct personalities while also combating stigma and assumptions about their realities. DP Ruben Woodin Dechamps Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to […]
-
“I Much Prefer a Camera That Sees Than One That Is Constantly Seen”: DP Nicolás Wong Díaz on La Llorona
In the widely popular Latin American folk tale of La Llorona (The Weeping Woman), a mother is cursed to tread the banks of a river for eternity after she drowns her three children in the hopes of making her a more worthy bride to a rich man. The condemnation of greed and loss of innocent life receives an apt adaptation in Jayro Bustamante’s La Llorona, which focuses on the devastating history of indigenous Mayan genocide in Guatemala. When a senile general is set to be tried for his war crimes against the indigenous population, a crowd of angry townspeople gather […]
-
“We Wanted the Film to Feel Lived in, Gritty, Real”: Directors/Cinematographers Bill and Turner Ross on Bloody Nose, Empty Pockets
In The Ross Brothers’ Bloody Nose, Empty Pockets, a dive bar on the outskirts of Las Vegas, The Roaring 20s, is on its last leg. Its long-time patrons are devastated by the prospect of losing the watering hole that has been a sort of refuge for them over the years—they could hide from their disappointments, inadequacies and reality under the dim lights. Bill and Turner Ross briefly describe what went into shooting the documentary. 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 […]
-
“My Process is Totally Based Around Story and Emotion”: Editor Alex O’Flinn on Wander Darkly
In Tara Miele’s Wander Darkly, the narrative is comprised of a string of memories as Adrienne (Sienna Miller) attempts to dissect the events that led up to a tragic accident. As a result, her relationship with Matteo (Diego Luna) comes under scrutiny and must be reevaluated. The fate of her daughter also remains uncertain, making the memories explored all the more painful. Editor Alex O’Flinn explains how the editing process shaped the film’s exploration of memory. Filmmaker: In terms of advancing your film from its earliest assembly to your final cut, what were goals as an editor? What elements of […]
-
“You Always Hope the Film Surprises You When You’re Done”: Editor David Teague on Spaceship Earth
In 1991, a Texas oil tycoon funded an experimental project meant to test the limits of America’s technology when it came to space exploration (and colonization). Known as Biosphere 2, the project consisted of sealing eight people in an airtight terrarium in the Arizona desert meant to perfectly replicate the Earth’s natural atmosphere. Many of the findings of this project have been long destroyed, but documentarian Matt Wolf used a medley of archival footage and interviews with surviving Biospherians in order to capture the daily realities of those enclosed in Biosphere 2. Editor David Teague speaks to Filmmaker about the […]
