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Severance and Sub-Creation
In what would have been called in an earlier period of TV development “the pilot” of Apple TV+’s series Severance, Mark (Adam Scott) attends a dinner party populated by the most obnoxious people in any possible world—members of the professional class chattering about various online thinkpieces. Amidst their debates, the attendees learn of Mark’s high-concept job at Lumon Industries, where only employees who have had their work and non-work selves surgically divided—employees who have no knowledge of their work lives when they’re at home and vice versa—may labor on the company’s secretive “severed floor.” Immediately, he is questioned about the […]
by Brendan Byrne on Jul 14, 2022 -
Still Looking: Gail Segal and Sheril Antonio’s Dramatic Effects with a Movie Camera
In their new book, Dramatic Effects with a Movie Camera, Gail Segal, a poet, filmmaker and associate arts professor, and Sheril Antonio, an associate arts professor in the department of art and public policy, both at New York University’s Tisch School of the Arts, describe a form of shot-by-shot film analysis that can teach filmmakers the nuances of cinematic storytelling. Recently published by Bloomsbury Publishing, the richly illustrated book is based on an NYU graduate filmmaking course taught more than two decades ago by Segal. “This class was an investigation of film technique,” Segal explains, “with the goal of applying […]
by Holly Willis on Jul 14, 2022 -
Eruptions: Fire of Love Director Sara Dosa Interviewed by Director and Author Sandi Tan
“I couldn’t love someone who doesn’t share that love at the top of a volcano,” says French volcanologist Katia Krafft early in Sara Dosa’s Fire of Love, a film that’s both a spectacular, eye-searing documentary about the history and science of volcanoes and achingly existential romance. Katia, a geochemist, and partner Maurice Krafft, a geologist, met, fell in love and—“disappointed in humanity” —turned away from the tumult of the 1960s to find a life on the outskirts of the primordial, amidst drifting ash and near-psychedelic lava pools. “We contemplate lying at the edge of the abyss,” Katia says. Like today’s […]
by Filmmaker Staff on Jul 14, 2022 -
Editor’s Letter
In my recent online interview with Olivier Assayas about his HBO series, Irma Vep, we talked about a certain anxiety around the subject of television—its usurpation of critical and audience interest from cinema, as well as the kind of career imperative young filmmakers today feel about directing for the small screen. So much work is there that most young directors I know feel like they have to try and land series gigs, if for nothing more than to keep a roof over their heads as features take longer and longer to set up. One argument in favor of TV that […]
by Scott Macaulay on Jul 14, 2022 -
“If the Truth is Completely Elusive, I’m Happy to Live in Uncertainty”: Antonio Campos and Sofia Subercaseaux on the HBO Max Original Series, The Staircase
On their very first date in 2013, Antonio Campos pitched The Staircase to Sofía Subercaseaux. It would be years before the now married team officially began work on the project. In the interim, their collaborations have included Christine (Sundance 2016), written and directed by Campos and edited by Subercaseaux, and Piercing (Sundance 2018), produced by Campos and edited by Subercaseaux. Campos became known for his acclaimed independent work with production company Borderline Films (Martha Marcy May Marlene, Simon Killer, James White). After directing episodes of The Punisher and The Sinner (the latter of which he also executive produced), he makes […]
by Taylor Hess on Jul 14, 2022 -
Emotional History: Pachinko Creator and Showrunner Soo Hugh
In television, the position of the showrunner covers so much territory and entails supervising so many different jobs that it can be difficult to define. Many showrunners are writers who create their series. Others are hired to execute a creator’s vision, but all have vital responsibilities stretching across the entirety of a season, from pre-production work with writers to supervising the directors and production team during shooting and overseeing vital post-production work. One showrunner from a writing background is Soo Hugh, who began her career on the feature side of the industry but switched to television when she was hired […]
by Jesse Pasternack on Jul 14, 2022 -
Strategic Reassessments: Arthouse Distributors and the Theatrical-vs.-Streaming Debate
Less than a year ago, it seemed like the sky was falling for independent films being released in theaters. Netflix’s stock was hitting record highs, the core demographic of older metropolitan moviegoers were staying home, and the entertainment complex was pivoting to the new normal of their subscription streaming overlords. Their dominance may ultimately prevail, but a more delicate and intricately linked dance between theatrical and streaming appears to be the future of releasing films. As an insider notes, “I think it’s swinging back towards theatrical, even though the end-goal is still about making the streaming stand out.” To name […]
by Anthony Kaufman on Jul 14, 2022 -
Read Only Memory: Joanne McNeil on Chris Marker’s Immemory Project
“I’ll find you,” Chris Marker told Damon Krukowski and Naomi Yang. The first time they met—New Year’s Day, 1999, at the Café de Flore in Paris—they had no idea what he looked like until he beckoned to them. There weren’t photos of him anywhere; he’d send illustrations of his cat, Guillaume-en-Égypte, if anyone asked for a picture. Krukowski and Yang wished to collaborate on an English language edition of the director’s CD-ROM project, Immemory. He could be difficult to reach but liked musicians and made time for the duo—formerly of Galaxie 500—who have performed as Damon & Naomi since 1991. […]
by Joanne McNeil on Jul 14, 2022 -
I Saw That at Cannes!
My producer and friend Rebecca Lamond had decided a few months ago to make her first trip to Cannes, primarily for business meetings to pitch our next feature film. I’d also never been, and initially I didn’t see the point of joining her given the cost of flights and everything else. But when changed circumstances meant I was going to be in France in May and Rebecca said she had a sofa I could sleep on, it seemed logical to go. After all, there are other reasons to go to Cannes: the films, obviously, and the people that make, program […]
by James Vaughan on Jul 14, 2022 -
Inside Out: Michael Almereyda and David Cronenberg in Conversation on Crimes of the Future
“There is an inner life to a human being that can be as dangerous as any animal in the forest.” So asserts David Cronenberg in his supremely self-aware book-length 1993 interview Cronenberg on Cronenberg, tracking a career that has supplied us with indelible nightmare images: ravenous parasites, murderous mutant children, an exploding head, a slimy gun extracted from a pseudo-vaginal slit in a man’s abdomen—to name a conspicuous few. Recalling the early films, it’s almost easy to forget that the jolting imagery emerges from compelling atmospheres of isolation and estrangement. Cronenberg’s reliable quotient of ghastly mayhem has always roared up […]
by Michael Almereyda on Jul 14, 2022
