6296 Results for “Open ”
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“I Wanted the Hotdog Universe to Cross Over with the Taxes Universe”: Costume Designer Shirley Kurata on Everything Everywhere All at Once
Beyond the cartoonish mania of the multiverse action-comedy Everything Everywhere All At Once is a story about a mother and daughter, Evelyn (Michelle Yeoh) and Joy (Stephanie Hu). Their family laundromat is on the brink of falling out, though not for want of trying–both strive to get along, but the air between them remains tense and unpleasant. Under a scrupulous audit by a five-time award-winning IRS agent Deirdre Beaubeirdra (Jamie Lee Curtis), the laundromat may be taken away from the family too, and Evelyn’s sweetheart husband, Waymond (Ke Huy Quan), has secretly prepared divorce papers. Eventually, Joy decides it might […]
by A.E. Hunt on Apr 19, 2022 -
Makuta VFX’s Pete Draper on Working with RRR Director S.S. Rajamouli
The culmination of director S.S. Rajamouli’s bombastic use of visual effects, RRR is on its way to becoming the biggest Indian blockbuster of 2022. Starting with the vengeful CGI fly in Eega (2012) through the mythical landscapes of Baahubali (2015-2017) and the jungle cat revolutionary warfare of RRR, Rajamouli has overseen some of the most jaw-droppingly creative spectacles of the 21st century. He was able to do this thanks to the help of Makuta VFX, who’ve worked on all of Rajamouli’s films in some capacity since Magadheera (2009). I spoke with Makuta VFX’s Division Head & Chief Technical Director, Pete […]
by R. Emmet Sweeney on Apr 18, 2022 -
Full Sail University: A Talent Pipeline for the Virtual Production Industry (Sponsored Post)
Following the filming of The Mandalorian, accelerated interest grew in the emerging technologies utilized to create this visually stunning epic. Outside of the creation of the green screen, the virtual production technology behind The Mandalorian is one the most cutting-edge recent creations impacting the industry. In fact, according to Technavio, 46% of the projected USD $1.85B global growth, is expected to come from North America exclusively. The recent popularity and capabilities of virtual production technology could not have come at a more opportune time. Virtual production technology permits film crews and productions to be anywhere in the world with the […]
by Filmmaker Staff on Apr 18, 2022 -
Columbia’s Digital Storytelling Lab Announces its Annual Digital Dozen
Columbia’s Digital Storytelling Lab announced its “Digital Dozen” earlier this week—its annual list of the most innovative examples of digitally enabled storytelling. Unlike other awards programs, this one has no categories, so what you saw was a typically eclectic mix of XR, immersive theater and interactive installations, this time with some NFTs thrown in as well. But the Breakthroughs in Storytelling Awards, as they’re officially known, always come with a few surprises, and this year was no exception. The DSL’s top honor, the 2022 Breakthrough Award, went to “Life After BOB: The Chalice Study,” a narrative animation by the New […]
by Frank Rose on Apr 15, 2022 -
“We Can Give Clint Eastwood His Lens”: DP Jessica Lee Gagné on Severance
In Severance, workers at a windowless subterranean cubicle farm have their memories surgically bifurcated. The procedure separates the consciousness of the work self from the personal self—the “innie and outie,” in the parlance of the show—with neither retaining memories from the other half of their existence. Listening to Jessica Lee Gagné talk about her craft, it’s hard to imagine the cinematographer not taking her work home with her. Long after wrapping the show, she’s still irked that the shade of red in a kitchen’s undercabinet lighting isn’t quite right. She’s precise enough to carry .15 ND filters, because she believes […]
by Matt Mulcahey on Apr 14, 2022 -
Words with Friends: On Writing Accountability Partnerships
When I was in college, my best friend and closest collaborator, Brandon Colvin, told me that most writer-directors make their first feature between the ages of 24 and 36, and that if he didn’t make one before then, he would off himself. Harsh as it is to say, when we were 22 that felt like a world away, and I didn’t fret for him. Brandon has since made three microbudgeted features, all willed into existence with student loans, credit card debt, crowdfunds and a few incredible friends and family angels. Two years ago, I turned 34. While I didn’t take […]
by Tony Oswald on Apr 14, 2022 -
How to Deliver Your Film to a Festival (2022 Edition)
In 2018, I wrote a version of this article1 that treated the exhibition dominance of Digital Cinema Packages (DCP) as a historic certainty. Technology had advanced enough where the cost and/or ability to create a DCP were no longer considered a burden for independent filmmakers. As always with historic certainty, history happened: The COVID-19 pandemic catalyzed the widespread adoption of virtual film festivals. Separately, the call for justice and equality led to the widespread adoption of accessibility features for films. These concurrent developments, combined with the decline of the theatrical market and technological obsolescence, have created an environment that can […]
by Sergio Andrés Lobo-Navia on Apr 14, 2022 -
Kiss Me Before You Wake Up: An Excerpt From Michael Almereyda’s Book, Tesla: All My Dreams Are True
Tesla: All My Dreams Are True, forthcoming from OR Books, is a jigsawed account of my attempts at conjuring a movie about Nikola Tesla over the past 40 years, tracking questions and clues about the elusive inventor’s life and legacy. The following excerpt is one of the least self-effacing of the 25 chapters, in which the author shamelessly confides early experiences as a screenwriter and director while Tesla’s name is hardly mentioned. This is in keeping with one of the book’s epigraphs, an injunction from Derek Jarman: “As the film falls apart, gather up your mistakes and treasure them.” See shadow puppet plays and imagine […]
by Michael Almereyda on Apr 14, 2022 -
2020-22: Cinema Year Zero or, My COVID “Movie Journal” (So Far)
Inspired by L.M. Kit Carson’s “Intros” from the Noonday paperback screenplay of David Holzman’s Diary (1967), a film by Jim McBride. 0. I don’t mind the sun sometimes the images it shows —Butthole Surfers, “Pepper” 1. Anthology Film Archives cancels the final screening of Johnny Mnemonic (Robert Longo, 1995) in Jon Dieringer and Screen Slate’s “1995: The Year The Internet Broke” series. Opening title card: Second Decade of the 21st Century. Corporations Rule. The World Is Threatened by a New Plague: NAS Nerve Attenuation Syndrome, Fatal, Epidemic, Its Cause and Cure Unknown… 2. Ken Jacobs premieres a new work, Movie […]
by John Klacsmann on Apr 14, 2022 -
Portal to Portal: Jane Schoenbrun on We’re All Going to the World’s Fair
The central promotional image for We’re All Going to the World’s Fair is of a young girl, covered in glow-in-the-dark paint, holding up a googly eye to her face as she barrels toward a laptop camera. This is Casey: She is a kid, and she is on the internet and she is in her bedroom, alone. The film takes its name from its own invented World’s Fair Challenge, an internet myth that causes something dark to alter within its participants. Sources vary on what exactly happens: Some people appear to be sucked into their computers, some turn to plastic, some […]
by Sam Bodrojan on Apr 14, 2022
