Filmmaker

Click here to read our Spring 2022 issue, featuring The Northman’s Robert Eggers, our annual spotlight on location shooting and more...

  • Log In
  • Filmmaking
    • All
    • Directing
    • Screenwriting
    • Cinematography
    • Production
    • Post-Production
    • Financing
    • Distribution
    • Transmedia
  • Columns
    • All
    • Current Columns:
    • Focal Point
    • Shutter Angles
    • Back to One
    • Continue Watching
    • The Week In Cameras
    • Notes on Real Life
    • Persona Project
    • Industry Beat
    • Extra Curricular
    • Editor's Blog
    • Archived Columns:
    • Blue Velvet Project
    • Things DPs Don't Talk About
    • Time and Tempo
    • Microbudget Conversation
    • True Crit
    • Into the Splice
    • Culture Hacker
    • Lady Vengeance
    • Shooting With John
    • H2N Pick of the Week
    • This is Where You Work
  • Festivals & Events
    • Sundance
    • SXSW
    • All Festivals & Events
  • Interviews
    • All
    • Directors
    • Actors
    • Screenwriters
    • Cinematographers
    • Editors
    • Producers
    • 25 New Faces
  • Videos
  • Latest Issue
  • Twitter
  • Facebook
  • RSS
  • thegotham.org
  • Filmmaker Magazine
  • Gotham Awards
  • 25 New Faces
  • Log in
  • Join The Gotham
  • Subscribe to Newsletter
  • Subscribe
  • Filmmaking
  • Columns
  • Festivals & Events
  • Interviews
  • Videos
  • Current Issue
  • 25 New Faces
    • Subscribe
    • Advertise
    • Support
    • Issue Archive
    • Privacy policy
    • View Print Magazines
  • Filmmaker magazine is a publication of The Gotham.

5546 Results for “production”

Search Site
  • Ungentrified: Production Designer Scott Dougan and Visual Effects Supervisor Jim Rider on The Deuce

    David Simon’s latest HBO series, The Deuce (co-created with George Pelecanos), represents another entry in a career-spanning investigation of institutional corruption and decay, this time focusing on the sex and pornography industry in New York City during the 1970s. Primarily viewed through the eyes of bartender and club owner Vincent Martino (James Franco) and sex worker-turned-pornographer Eileen “Candy” Merrell (Maggie Gyllenhaal), The Deuce uses the sex trade as a microcosm for various developments in late-stage capitalism, including gentrification and urban renewal.  As the series shifts periods over the course of its three-season run—1971–1972 in the first season, 1978 in the […]


    by Vikram Murthi on Jun 19, 2019
  • “Putting Aside the Hierarchical Madness that Often Plagues Productions”: Director Tayarisha Poe | Selah and the Spades

    Whenever directors watch their own films, they always do so with the knowledge that there are moments that occurred during their production — whether that’s in the financing and development or shooting or post — that required incredible ingenuity, skill, planning or just plain luck, but whose difficulty is invisible to most spectators. These are the moments directors are often the most proud of, and that pride comes with the knowledge that no one on the outside could ever properly appreciate what went into them. So, we ask: “What hidden part of your film are you most privately proud of […]


    by Filmmaker Staff on Jan 27, 2019
  • Production Designer Hannah Beachler on Building Black Panther

    Hidden in the midst of a dense African forest, Wakanda’s opulent capital of Golden City is the centerpiece of production designer Hannah Beachler’s world building in Marvel’s Black Panther. However, Beachler’s work on the film extends well beyond that vibrant Afrofuturist utopia, stretching from an Oakland apartment complex to a tony London art museum to a lavish subterranean South Korean casino. Before landing the job — which reunited her with Fruitvale Station and Creed director Ryan Coogler — Beachler wasn’t particularly familiar with the titular Marvel superhero or his isolationist homeland of Wakanda. Luckily, she knew someone who was. “I’d […]


    by Matt Mulcahey on Dec 17, 2018
  • How Halloween Production Designer Richard Wright Shot the Film’s Opening Credits with a Few Hundred Dollars, an Old Bolex and a Fridge Full of Rotting Pumpkins

    While the new Halloween ignores the plots of the many sequels that followed John Carpenter’s 1978 original, it doesn’t spurn the movies themselves. The film is crammed with loving homages to the franchise — even the Michael Myers-less Halloween III: Season of the Witch gets a brief shout-out. The latest Halloween installment establishes its fondness for its predecessors in the opening credits, which pay tribute to Carpenter’s progenitor with a slow push-in to a rotting pumpkin that magically restores itself to health as the camera creeps closer. Though the sequel’s production budget was a reported $10 million, only a few […]


    by Matt Mulcahey on Nov 2, 2018
  • What Makes a Good Production Designer?

    As a kid, the first and only thing I ever wanted to be when I grew up was an artist. I never got bored or minded being sent to my room as long as I could draw. I wasn’t the “good artist” at school—I couldn’t draw a superhero, or a realistic Snoopy. But I was often told (only by adults, so it didn’t mean much to me) that I had a great imagination. I had a pretty rich fantasy life and drew pages and pages of imaginary interiors, collections of objects and fashion wardrobes. If I had known what a […]


    by Judy Becker on Sep 17, 2018
  • Means of Production

    “One day, a group of us were driving to a Democratic Socialists of America meeting, talking about our unbearable jobs working for one of the big three automakers,” says filmmaker Nick Hayes, 21. “As we talked, we realized that I created the ads, Naomi [Burton] created the social media and another person developed the product. We were the means of production. The idea stuck, and so did the notion that we’re contributing far greater to these corporations than what they led us to believe.” Burton, 29, and Hayes, both Detroit-based, had met months earlier at a DSA meeting, where they […]


    by Daniel Christian on Sep 13, 2018
  • Promise and The Pitch: A Bible-Themed Short Film Contest That Offers $40,000 in Production Financing

    Director and film critic Neville Pierce, who we interviewed several months ago around the online premiere of his shorts, has a new film, Promise, up on the interwebs, and it’s tied to the announcement of an unusual short film contest that offers filmmakers $40,000 in production funds for their winning pitch. From the press release: The Pitch is an annual online pitching competition which invites filmmakers to submit a two-minute video pitching their idea for a short film inspired by The Bible. It can be in any genre, can emerge from any perspective, and can draw on any story, passage, […]


    by Scott Macaulay on Jul 23, 2018
  • From Audience to Utopia: Considering the Spectator in Pre-Production of the Queer/Trans Film So Pretty

    I’m a director with one feature film to my name, and I also work as an editor and colorist. About a year ago, I was doing some editing consultation on an early draft of a documentary. Before I gave the director notes, I asked, “What festivals are you looking to have this play in?” He was taken aback. For him, a film—at least this sort, conceptualized as an art film—should be a pure object of creation, and industry concerns should be taken into account only after post-production is completed. I’ve come to disagree. Considering the potential audience and distribution channels […]


    by Jessica Dunn Rovinelli on May 24, 2018
  • Back to One, Episode Five: Harry Lennix on Classic Foundations of Acting, His Own Production Company and More

    At the moment, Harry Lennix is perhaps best known for his portrayal of FBI agent Harold Cooper on NBC’s The Blacklist. The breadth and depth of his work on the stage and screen go well beyond that hit show, however, with film roles spanning from Robert Townsend’s The Five Heartbeats and Julie Taymor’s Titus, to General Swanwick in both Man of Steel and Batman vs. Superman, and on Broadway in August Wilson’s final play Radio Golf, and Cymbeline at The Royal Shakespeare Company. In 2014 Lennix created Exponent Media Group and began producing his own content, such as H4, a […]


    by Peter Rinaldi on May 15, 2018
  • “Living in a Culture of Heroin Production”: DP Matt Porwoll on The Trade

    Expanding on the subject of his first feature, the both-sides-of-the-border drug wars documentary Cartel Land, director Matthew Heineman’s latest project is a five-part documentary series for Showtime. The first two hours premiered at Sundance. Prior to the screening, DP Matt Porwoll explained the difficulties of working on a project following both drug cartels in Mexico and stories of addiction and counter-law enforcement in the States in multiple cities. 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? Porwoll: When Matthew Heineman first […]


    by Filmmaker Staff on Jan 30, 2018
  • Previous
  • Next
  • Page:
  • 1
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
  • ...
  • 555
  • Previous
  • Next
  • Page:
  • 1
  • ...
  • 3
  • 4
  • 5
  • ...
  • 555

Videos

  • Eo Cannes 2022: Eo, Enys Men Video
  • Pascal Greggory and Léa Seydoux in One Fine Morning Cannes 2022: One Fine Morning, Armageddon Time Video
  • Michel Haznavicius's Final Cut Cannes 2022: Final Cut Video

The Magazine of Independent Film

©2022 Filmmaker Magazine   All Rights Reserved   A Publication of The Gotham
  • Subscribe
  • Issue Archive
  • Advertise
  • Privacy Policy
  • Support
  • Contact Us
  • Site by Vitamin M
© 2022 Filmmaker Magazine. All Rights Reserved. A Publication of The Gotham