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“The ‘Broken Heroine Narrative’ — That’s Something I’m Very Interested in Subverting”: Lily Baldwin on Her Audible Podcast, Stories of the Stalked
Director, choreographer and dancer Lily Baldwin has appeared in these pages several times over the last decade in interviews about her work across both short film and virtual reality. But throughout this time, one project — alternately creatively compelling and deeply distressing — has been a persistent focus. In a story she details in our interview below, it began as Glass, an autobiographically-inspired thriller about a woman being stalked, that placed in the IFP (now Gotham) Emerging Storytellers program in 2014. It then morphed into a multi-part documentary TV series before finally now hitting download queues as a six-part Audible […]
by Scott Macaulay on Aug 4, 2022 -
Experiments in Darling Killing: Director Nastasya Popov on Respecting the Edit in Her Short, Good Grief
Recently, as part of my writing process, I’ve started to read through the junk that gets mailed to my apartment. This endless, unsolicited mound, consisting of the local councilwoman’s campaign booklet one day and “The Real Yellow Pages” the next, could contain the spark of a story. Just a few weeks ago, as I was emphatically flipping through an alumni magazine, I came across an article titled “The Secret to Creating a Masterpiece.” Of course, I was curious. Using AI to mine big data (I know exactly what that means), researchers at Northwestern had concluded that artistic genius is born […]
by Nastasya Popov on Aug 3, 2022 -
Back to One, Episode 214: Himesh Patel
Himesh Patel is nominated for an Emmy this year for his incredible performance as Jeevan in Patrick Somerville’s HBO Max mini-series Station Eleven. In this episode, he talks about how that role made him a better actor, which is saying a lot because he had already given us some phenomenal work in films like Tenet, Don’t Look Up, and his first feature film Yesterday. He talks about the attention and care given to him by the big-name directors of those films, and how that helped his work. I ask about his 10 years on the UK television institution EastEnders, and […]
by Peter Rinaldi on Aug 2, 2022 -
The Gotham Announces the 142 Projects Selected for the 2022 Gotham Week Project Market
The Gotham Film & Media Institute (formerly IFP, and Filmmaker‘s publisher) announces today the 144 projects comprising the 44th annual Gotham Week Project Market, which includes fiction and nonfiction features, series and audio projects. Taking place both at the Brooklyn Navy Yard and online, the in person segment will run from September 19-21, while the virtual portion will be hosted from September 22-23. “Covering a wide range of formats, subjects, and genres, this year’s Project Market slate features some of the boldest and most exciting voices in independent storytelling,” said Jeffrey Sharp, The Gotham’s Executive Director in a press release. “We […]
by Filmmaker Staff on Aug 1, 2022 -
Remembering Director of Photography Tom Richmond, 1950-2022
This piece has been updated after publication with comments from Keith Gordon. — Editor Director of photography Tom Richmond, who shot numerous seminal features that launched many directorial careers, died yesterday in New York City. He was 72. Tom’s career began in the early ’80s. After graduating Harvard with an undergraduate photography degree and then going on to study at AFI, he worked second camera on Alex Cox’s Repo Man and was camera operator on Oliver Stone’s Salvador, among other credits. After several low-budget comedy and horror films, Tom was director of photography on two higher-profile films: Cox’s Straight to Hell […]
by Scott Macaulay on Jul 30, 2022 -
“I Want to Be the Rod Serling of Cinematography”: An Interview with Little Odessa DP Tom Richmond
The following interview with director of photography Tom Richmond appeared in Filmmaker‘s Winter, 1995 issue. Richmond died yesterday in New York at the age of 72, and this interview is now published online for the first time. — Editor “I want to be the Rod Serling of cinematography,” says Tom Richmond, whose distinctive and varied lensing has graced three recent films: the “Tex Avery meets Bonnie and Clyde” Love and a.45; the hyper-realist heist noir Killing Zoe; and Little Odessa, James Gray’s intimate epic about Brighton Beach’s Russian mafia. “The way Serling could get into you…”Richmond continues. “I want [my […]
by Scott Macaulay on Jul 30, 2022 -
“We Can Shoot the Sun and the Characters Dramatically, but the World is Humble”: Writer/Director Max Walker-Silverman on A Love Song
The sun is harsh in Max Walker-Silverman’s A Love Song. Intense in the mid-day, it beats down on Faye (Dale Dickey) — ruddy, her face lined by hard living, her blonde hair lightened further by all the incandescent days. Ensconced in her small trailer sitting in a lakeside patch of dirt somewhere in Colorado, the widow waits for a man, also familiar with loss, she knew decades ago. She wrote to him — will he show up? It’s not a spoiler to reveal that he does, in the form of Wes Studi, and theirs is a bittersweet, gently melancholic connection […]
by Scott Macaulay on Jul 29, 2022 -
“It Came Out of Me Almost Fully Born”: Writer/Director Lena Dunham on Her New Feature, Sharp Stick
It’s been 13 years since Lena Dunham emerged: first with 2009’s web series, Delusional Downtown Divas and the feature Creative Nonfiction, then, a year later, with breakthrough Tiny Furniture, an intensely personal, incredibly low-budget film that follows a recent college grad named Aura (Dunham) struggling to find her place in her hometown of New York City post-Oberlin. Supported by a cast of Dunham’s real-life friends and family, Tiny Furniture was a critical success that directly sprouted the quintessential Girls, the HBO series that depicts millennial mania, malaise and, at times, loathsome mediocrity. Five years after Girls’s final season, Dunham’s work is less focused on self-reflection […]
by Natalia Keogan on Jul 29, 2022 -
“We Did Not Have an Interior to Shoot for Eight-and-a-Half Episodes”: DP Christina Alexandra Voros on Her Emmy-Nominated 1883 Work
“The landscape is its own character,” says 1883 cinematographer Christina Alexandra Voros. It’s not an unusual declaration for an epic outdoor adventure, until Voros adds, “And that character was the biggest diva on the show.” A prequel to Paramount+’s popular Yellowstone series, 1883 subjected its crew to both a stifling Texas summer and a frigid Montana winter to trace the Dutton clan’s westward journey via wagon train. “It was punishing,” said Voros. “It was either raining, windy or just plain freezing, or it was 500 background people in downtown Ft. Worth sweltering under the August sun in wool clothing.” Braving […]
by Matt Mulcahey on Jul 28, 2022 -
Trailer Watch: Andrew Dominik’s Ana de Armas-Starring Blonde
“Ms. Monroe, it’s time,” are the first ominous words heard in the just-released trailer for Andrew Dominik’s long-awaited Netflix production, Blonde, based on Joyce Carol Oates’s book about actor and movie star Marilyn Monroe. Ana de Armas plays Monroe in the dark drama. In addition to first glimpses of de Armas’s performance, among what’s striking about the trailer is Chayse Irvin’s cinematography, which, across scenes, instantly recalls the different period photographic styles — in cinema, paparazzi shots, and media and magazine coverage — associated with Monroe’s depiction. Interestingly, Blonde is Irvin’s second credit this year. The BlacKkKlansman DP also shot […]
by Scott Macaulay on Jul 28, 2022
