Plus One

Filmmaker takes crew members to see films they worked on for the first time by Aaron Hunt

  • “You Have to Make Sure Hair Continuity is 100%”: Hair Department Head Brian Badie and Key Hairstylist Andrea “Mona” Bowman On Lovecraft Country

    Lovecraft Country was inspired by one of those punch-line horror conceits like “Meeting your partner’s family is scarier than a house under siege” (You’re Next). Or, “Nothing’s scarier than meeting your lover’s liberal, racist, white family”(Get Out). Lovecraft Country is a high production value literalization of the pun that H.P Lovecraft invented no horror scarier than his own racism: the invisible effects of racism manifest the series’ monsters, reflected in the actions of the show’s predatory whites. It’s also no coincidence that racism materializes in such outlandish forms that white people wouldn’t believe in them if the victims told them,…  Read more

    On Sep 8, 2020
    By on Sep 8, 2020Columns
  • “A Cow At 8:00 AM is Different Than A Cow At 2:00 AM”: Animal Trainer Lauren Henry on First Cow

    Kelly Reichardt peppers her 19th Century Oregon Territory with warm cakes and endearing fauna. Eve, the “first cow” in the territory, is a symbol of opportunity to everyone but its natives, the hinge of the film’s plot, a romantic proxy to its protagonist, “Cookie,” and one of animal trainer Lauren Henry’s best behaved cows. The secret to contriving “wild” and natural animal behavior in the preposterous habitat of the movie set? Patience. Putting the time in to normalize the set for the animal and any action he or she might have to perform in it. But Henry’s work goes beyond…  Read more

    On Mar 15, 2020
    By on Mar 15, 2020Columns
  • “Send the Actors to Set with Everything They Need For Their Bodies”: Costume Designer Keri Langerman Dresses The Photograph

    After her mother passes away, Mae (Issa Rae) finds letters and a photograph left to her in a safety deposit box. The letters recall an unrequited romance between her mother, Christina Eames (Chante Adams), and a man Mae’s never heard of, Isaac Jefferson (Y’lan Noel). What got between them, mostly, was just space. Christina moved to New York to pursue the kind of career you can’t ambling clammy in the heat. Isaac stayed home. This is a timeless romantic dilemma. As The Photograph shows what happened between Christina and Isaac, the same dynamic recurs in the present between her daughter…  Read more

    On Feb 26, 2020
    By on Feb 26, 2020Columns
  • “I Had Hundreds Of Thousands Of Dollars Worth Of Jewelry In My Bag. Someone Could Just Steal Me.”: On-Set Prop Deneice O’Connor Juggles Uncut Gems

    Uncut Gems traffics in the upscale loot sold and loaned in the Diamond District. A bejeweled furby necklace and a pendant of Michael Jackson pinned to a cross are fan favorites in a claustrophobic rain of riches. But a rare black opal trumps the pile. Howard (Adam Sandler), a jeweler with debt gnawing at his heels, lifts one off the black market from the Ethiopian Jews who discovered them, and sees it delivered to his show floor inside a vacuum-sealed cooler of fish. As the gambit in some of his biggest bets yet, the opal might just clear his life’s…  Read more

    On Dec 19, 2019
    By on Dec 19, 2019Columns
  • “The Sadder We Made It Look, the Funnier It Became”: Gaffer Daniel April Lights The Death of Dick Long

    I first saw The Death Of Dick Long at a press screening at Technicolor Postworks. It is the second feature film from one of Swiss Army Man’s co-directors, Daniel Scheinert, whose kooky debut portends the mercurial sensibilities of Dick Long, a cotton state comedy of errors with a hushed twist. The film’s gaffer, Daniel April, the sought after lightsmith of New York indie film, still hadn’t seen the film, so I invited him to attend A24’s special screening at the Alamo Drafthouse in Downtown Brooklyn, featuring free wine and popcorn, the common bribes. April had just gotten off the set…  Read more

    On Oct 1, 2019
    By on Oct 1, 2019Columns
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