6301 Results for “Open ”
-
“Filming a Record of the Voyage on a Clunky SVHS Camera”: Director Alex Holmes | Maiden
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 25, 2019 -
The Sundance Question: What Hidden Part of Your Film Are You Most Privately Proud of, and Why?
Each year Filmmaker asks all the incoming feature directors at Sundance one question. (To see past years’ questions and responses, click here.) This year’s question: 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 […]
by Scott Macaulay on Jan 25, 2019 -
Shadows Under Strain: DP Lol Crawley and the Cipher of Vox Lux
When it comes time to “punish” the image of a film, say with filtration, grease (generously applied to the front of the lens), or underexposure, cinematographers regress from their dear and safe technical jargon and assume the barbarous dialect of medieval executioners. They don’t just underexpose their picture to see how it reacts under strain, they “suffocate” it, “break” it, and “destroy” it — sometimes in spite of itself. The digital image is nary embraced and mostly worked against, its sterile lines deliberately corroded and beaten to a duller moosh. Cinematographer Lol Crawley BSC (Ballast, 45 Years) tortures the film […]
by A.E. Hunt on Jan 21, 2019 -
“There is a Misconception that Cutting Action is not an Intellectual Endeavor”: Debbie Berman on Editing Black Panther
Of the 250 top-grossing films in 2017, women comprised only 16% of all editors. That makes Debbie Berman, co-editor of Black Panther, a glowing exception. And not only has Berman had a successful career spanning work in her homeland of South Africa, Canada and now LA, she’s made a name for herself in the Marvel sphere. Last year, she co-edited Spider-Man: Homecoming, this year, the ground-breaking Black Panther alongside Michael Shawver (Fruitvale Station) and has the Brie Larson-led Captain Marvel out this year. Filmmaker had a chance to ask Berman some questions about her impressive career and her knack for […]
by Meredith Alloway on Jan 15, 2019 -
Can Critics’s Awards and Top Ten Mentions Boost Revenues for Independent Films?
Do critics matter? Maybe. But do critics’ top ten lists matter? There’s little doubt within the industry that an Academy Award nomination (or win) can provide an extraordinary boost to a film’s profile, especially smaller independent films who need the long tail of awards recognition more than most. Think of last year’s The Florida Project or Faces Places. But what about all those year-end numerical rankings and lists, proffered by that dwindling professional entity known as the film critic? He’s no Oscar, but when the New York Times’ A.O. Scott puts your little film at the top of his year-end […]
by Anthony Kaufman on Jan 14, 2019 -
“Lights are Your Friends, but Sometimes They Don’t Need to Come Around to the Party”: Cinematographer Robbie Ryan on Shooting Yorgos Lanthimos’s The Favourite
In Yorgos Lanthimos’s The Favourite, two determined women — Rachel Weisz’s refined but ruthless Duchess of Marlborough and Emma Stone’s desperate and cunning chambermaid Abigail — vie for the titular preferential position alongside the ill and melancholy Queen Anne. Anyone expecting a beautifully mounted but stuffy 18th century period piece has not seen a Yorgos Lanthimos movie. Employing the same absurdist sense of humor as Lanthimos’s The Lobster, The Favourite also imposes the director’s preferred set of aesthetic restrictions — namely, wide angle lenses and shooting almost entirely with available light. Irish cinematographer Robbie Ryan (American Honey, Fish Tank), who […]
by Matt Mulcahey on Jan 12, 2019 -
Made Visible: The 2018 Hawai’i International Film Festival
A question like whether a film festival should be considered “regional” or “international” in terms of outlook goes out the window when discussing the intriguing range of the Hawai’i International Film Festival Presented By Halekulani. Up until even a few years ago, the festival’s reputation was primarily that of a place to see the newest East Asian works; it offered a deep dive into established and emerging filmmakers, as well as various populist genres from China, Japan, and South Korea that tended to be overlooked Stateside. Works on Pacific Islander experiences and a few Asian-American independents rounded out the highlights, […]
by Jason Sanders on Jan 8, 2019 -
The 50 Most Anticipated American Films of 2019
Hello! Happy New Year! The fine folks at Filmmaker have invited me back to put together my (now) annual list of the 50 most anticipated American films of the year. I thought about making the list shorter this time around (because 50 blurbs is really a lot), but believe it or not I had a tough time narrowing things down even to this number. Before we get started, I want to share some quick clarifications and warnings: First and foremost, this list represents my opinions alone, and in case you got here via Google you should know that my taste […]
by Jane Schoenbrun on Jan 7, 2019 -
“It’s Always Very Troubling to See How Evil Can Seem So Convincing by the Good Manners of Who’s Explaining It to You”: Barbet Schroeder on his “Trilogy of Evil”
Four feature documentaries directed by Barbet Schroeder form the centerpiece of this year’s To Save and Project series at the Museum of Modern Art. Schroeder’s documentaries, some screened here in newly restored versions, have been difficult to see, especially three short ethnographic films scheduled for January 4 and 9. The Venerable W, his latest feature, will receive a week-long run from January 4–10. An actor and producer as well as director, Schroeder was an influential figure in the French New Wave, particularly as a producer for Eric Rohmer. He has directed several fiction features, including the Oscar-winning Reversal of Fortune […]
by Daniel Eagan on Jan 3, 2019 -
2018: A Year in 14 Festivals
2018 is the year that film festivals were challenged to answer the most basic question: What is cinema? The rise of VOD and streaming platforms have cinema owners worried that audiences will finally abandon theaters and the theatrical experience. The fear stems from the VOD market refusing to worship the primacy of cinema and the dictum that says all films should be played in theaters before arriving on another platform. And who can blame VOD providers for taking this stance, when they operate in a global market place, and when they are funding movies by auteurs themselves? If they fund […]
by Kaleem Aftab on Dec 31, 2018
