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“It’s Like an Invitation To Be Human”: Corsage Star Vicky Krieps (Back To One, Episode 233)
The last time Vicky Krieps (Phantom Thread, Bergman Island) was on this podcast (episode 174), we learned about how she approaches the work through a kind of “emptying out” of herself, and a “deconstruction” of everything in her obit, even her preconceptions regarding the role. This time she’s back to talk about her astounding work in Marie Kreutzer’s film Corsage, an imaginative re-telling (or perhaps a “correcting?”) of a year in the life of Empress Elisabeth of Austria. Krieps talks about treating the work as an invitation to play, how dealing with the coldness of the character had an effect on relationships outside of […]
by Peter Rinaldi on Dec 20, 2022 -
Cinema Is Dead and We’re All Its Ghosts: 2022 at the Movies
“User-generated content” is the future of the moving image, and the present as well. A less sentimental look back at 2022 in film would probably take the measure of TikTok trends, Instagram Reels, Twitch streams, YouTube reaction videos and OnlyFans porn. Before cinema dies, you see the Ring Video Doorbell surveillance footage repackaged, America’s Funniest Cops–style, in the syndicated Ring Nation, which premiered this year (coproduced by Ring and MGM Television, both subsidiaries of Amazon). The overwhelming proliferation of digital images, recorded by consumer-grade digital cameras with ever-greater resolution, storage capacity, and ubiquity, is the story of the century. Such […]
by Mark Asch on Dec 19, 2022 -
Gender Biases, Ghoulish Visages and “Jazzy” Broaches: Director Lesley Manning on Ghostwatch 30 Years On
On Halloween night 1992, the BBC switchboard became inundated with an estimated one million phone calls related to a now-infamous TV broadcast. Convincingly filmed as a live news report—even featuring recognizable BBC presenters Michael Parkinson, Sarah Greene and Mike “Smitty” Smith—Ghostwatch convinced a wide swath of the British populace (reportedly including Parkinson’s own mother) that a real-life possession was unfolding in front of their eyes, and that a demonic entity was being channeled through their own screens. Though programmed as part of the network’s narrative anthology series Screen One, many viewers tuned into the program after the identifiable drama banner […]
by Natalia Keogan on Dec 16, 2022 -
Exclusive Clip: Mark Pellington’s Going All the Way: The Director’s Edit
Ahead of its opening weekend at NYC’s Quad Cinema, Filmmaker shares an exclusive clip of Mark Pellington‘s Going All the Way: The Director’s Edit. This re-edit and 4K restoration of Pellington’s feature debut includes a new title sequence created by Sergio Pinheiro as well as 50 additional minutes of previously unseen footage accompanied by new music from composer Pete Adams. Based on the 1970 novel by Dan Wakefield (who also penned the script), the film stars Jeremy Davies and an early-career Ben Affleck as Sonny and Gunner, two young men who return home to Indianapolis after serving in the Korean […]
by Natalia Keogan on Dec 16, 2022 -
Winter 2023
by Vadim Rizov on Dec 15, 2022 -
The Real and the Poetic: DP Darius Khondji on Bardo
Alejandro G. Iñárritu has labeled Bardo, False Chronicle of a Handful of Truths the most difficult film of his career—a bold categorization, considering the intricate single-take illusion of Birdman and the famously frigid filming conditions of The Revenant, both of which earned Iñárritu Oscars as Best Director. But for Bardo cinematographer Darius Khondji, the lure of the project wasn’t the technical challenges, though they were plentiful (including shooting in Mexico City at the height of COVID with long takes, deep focus photography and surrealistic imagery), but the emotional pull of the material. “Almost every single scene in Bardo was a […]
by Matt Mulcahey on Dec 15, 2022 -
A Collective Voice: Composer Hildur Guðnadóttir on Women Talking
Upon winning an Oscar for scoring Joker, Hildur Guðnadóttir dedicated it “to the girls, to the women, to the mothers, to the daughters, who hear the music bubbling within,” telling them in her acceptance speech to “please speak up.” So, when she was approached to score Sarah Polley’s drama Women Talking, “after the Oscars were over and I had already given that speech,” the Icelandic composer and cellist remembers being taken aback by her own “knee-jerk reaction” to the project: “Who wants to sit through two hours of women talking?” “I stood up on that stage, urging women to talk, […]
by Isaac Feldberg on Dec 15, 2022 -
A Wardrobe of Coats: Costume Designer Eimer Ní Mhaoldomhnaigh on The Banshees of Inisherin
Martin McDonagh’s The Banshees of Inisherin brings the writer-director’s signature caustic humor to the story of Colm (Brendan Gleeson, perfectly surly), who abruptly decides to stop talking to his longtime best friend, Pádraic (Colin Farrell, perfectly perplexed), with devastating results for them both. The film is set on a fictional Irish island in 1923, and the combination of wide-open spaces and unfussy but handsome costuming adds visual dynamism to a film whose appeal is largely rooted in whip-smart dialogue. Costume designer Eimer Ní Mhaoldomhnaigh’s filmography includes works by Neil Jordan (Breakfast on Pluto) and Whit Stillman (Love & Friendship), which […]
by Abbey Bender on Dec 15, 2022 -
Two Questions: Producers on Net Profits and Sharing Their Personal Lives
In this new series of articles, Filmmaker poses two questions to producers, directors and other filmmakers. One question is directed toward the nuts and bolts of filmmaking—questions having to do with terms, practices, legal issues, technology and so on. The second question deals with topics that are softer or more amorphous—questions that necessarily can’t have right or wrong answers and whose replies are based on the personalities and practices of the individual participants. This issue, we directed our questions to producers, both fiction and doc, and asked them: What are points, or backend, and how do they work? What’s your […]
by Filmmaker Staff on Dec 15, 2022 -
Editor’s Letter
Welcome to the winter 2023 edition of Filmmaker, the second issue of our 30th anniversary year. It’s our annual awards season issue, in which we cover the Gotham Awards and devote a special section to considering our favorite below-the-line contributions of the year, profiles that reveal a lot about the new processes and technologies that inform filmmaking today. For example, in A. E. Hunt’s profile of Gotham Award-winning Everything Everywhere All at Once’s Paul Rogers, the editor talks about the extensive VFX work in the film, including the use of time-remapping software as well as comping in pictorial elements to […]
by Scott Macaulay on Dec 15, 2022
