6301 Results for “Open ”
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The Documentary Masterpiece that is Peter Jackson’s They Shall Not Grow Old
By now you must have heard about Peter Jackson’s “controversial” restoration of 100-year-old 35mm newsreel footage from WWI, taken from the archive of London’s Imperial War Museum. A splendid profile by Mekado Murphy occupied #1 in the New York Times Trending section for several days after it appeared Dec. 16, joined by coverage by Chris O’Falt in IndieWire and David Sims in The Atlantic. Unfortunately, in a highly unusual release pattern, distributor Warner Bros. Pictures is screening this groundbreaking film on two dates only: Dec. 17 and Dec. 27 at select theaters across the U.S. (check local listings if you […]
by David Leitner on Dec 27, 2018 -
Destroyer DP Julie Kirkwood on Working with Karyn Kusama, Nicole Kidman and the Blinding L.A. Sun
A gritty crime story set in Los Angeles, Destroyer finds Nicole Kidman in an unexpected role as Erin Bell, a cop at the end of her rope. Directed by Karyn Kusama, the movie was shot by Julie Kirkwood (Hello, I Must Be Going; I Am the Pretty Thing that Lives in the House). During a whirlwind visit to Camerimage, Kirkwood took time out to discuss with Filmmaker how to shoot action and violence, how to cram 38 locations into 33 shooting days, and how to make a glamorous Oscar-winner look as dissolute as possible. Filmmaker: Why did you decide to […]
by Daniel Eagan on Dec 25, 2018 -
Finding the Perfect Angle, Shooting Academy Ratio and Collaborating with Pawel Palikowski: DP Lukasz Żal on Shooting Cold War
Cinematographer Łukasz Żal’s first feature, Ida, won the Oscar for Best Foreign Language Film. Collaborating with director and co-writer Paweł Pawlikowski, Żal devised a distinctive visual approach that used black-and-white camerawork in the 1.37 Academy aspect ratio. Żal worked with Pawlikowski again on Cold War, another film using black-and-white and the Academy aspect ratio. He spoke with Filmmaker about the film at the recent Camerimage festival in Bydgoszcz, where he was awarded the Silver Frog for cinematography. Filmmaker: Pawlikowski took an “Image” credit for Cold War. What does that mean? Zal: You should ask Paweł. Filmmaker: He has said that […]
by Daniel Eagan on Dec 24, 2018 -
“I’m Just Not Interested in Polite Entertainment”: Destroyer Director Karyn Kusama on Damaged Characters, Genre and the Challenge of Studio Filmmaking
“I’m just not interested in polite entertainment. I’m just not interested in pleasing the most number of people by checking of a bunch of boxes and being, frankly, highly, highly attuned to some concept of cultural correctness.” Director Karyn Kusama sat down with Filmmaker in New York City ahead of the release of her latest crime thriller Destroyer, written by Kusama’s husband Phil Hay and writing partner Matt Mandfredi. When asked about how we can build audiences for genre and indie films, she was passionate about the importance of carving one’s own path as both a creator and as an […]
by Meredith Alloway on Dec 24, 2018 -
“Like Most Looks in Film, It’s a Bit of a Recipe”: Cinematographer Newton Thomas Sigel on Using Varying Cameras, Lenses and LUTs on Bohemian Rhapsody
If you’re a fan of the music of the 1970s, your favorite artist may soon have a biopic on the way. An Elton John flick is already en route. We’ll probably get a Bowie movie. Maybe Zeppelin. I’m crossing my fingers for The Jim Croce Story. You can thank Bohemian Rhapsody for that potential onslaught. The Queen biopic has grossed more than $600 million worldwide so far on a budget of roughly $50 million. With the film still out in theaters, cinematographer Newton Thomas Sigel (Drive, Three Kings, The Usual Suspects) spoke to Filmmaker about recreating Queen’s epic concert lighting, […]
by Matt Mulcahey on Dec 21, 2018 -
Editor Joe Walker on Cutting Steve McQueen’s Widows
“A stroke, and then a slap,” says editor Joe Walker. That’s how director Steve McQueen described the tone he wanted in the opening scenes of Widows. The movie opens with a remarkable sequence, intercutting glimpses of the main characters’ family lives with images from a horrifically bloody heist gone wrong — showing, in effect, how four of the women at the heart of the film become widows. So, for example, we see Viola Davis’s Veronica Rawlings passionately kissing her husband Harry (Liam Neeson) and then suddenly we’re in the back of Harry’s van as police fire on it. We see […]
by Bilge Ebiri on Dec 20, 2018 -
“Love and Injustice”: Composer Nicholas Britell on the Score for Barry Jenkins’ If Beale Street Could Talk
New York City in the 1970s occupies a special place in the popular imagination; there was a look and feel and, more important, a sound that captured the range of the city from grit to glitz. Barry Jenkins’s new If Beale Street Could Talk is set during this era of New York City, and the look is unmistakable: The backdrop is full of Impala yellow taxis, small shops and cool lofts. Yet the city fades into the background, giving way to the compelling and un-self-consciously presented love story of Tish and Fonny, childhood best friends in Harlem who become lovers […]
by Martin Johnson on Dec 20, 2018 -
Growing Up Roeg: Glenn Kenny Remembers Getting Into the Films of the Late Nicolas Roeg
In the hours after I heard of Nicolas Roeg’s death in late November, I wrote on my blog about how confounding and exhilarating it was to be a teenage cinephile in the 1970s, when Roeg was doing what I consider to be his most outstanding work. The notes I posted attracted the attention of a producer for BBC’s World Service, who invited me to do an audio interview. In that interview, I admitted that even as I thrilled to such films as Performance, Walkabout, Don’t Look Now and The Man Who Fell To Earth, I did not, at that time […]
by Glenn Kenny on Dec 20, 2018 -
Zika, GMO Mosquitos and the Brazilian Far Right: Artist and Filmmaker Pedro Neves Marques on A Mordida (The Bite)
Two years ago, the Miami Herald was worried: “Will Zika, election spoil Art Basel in Miami Beach 2016?” With South Beach’s art deco district smack in the middle of one of the Department of Health-designated “transmission zones,” it seemed like the deadly virus spread by mosquitoes and Trump’s recent presidential win might put a damper on the party. Now this year, Pedro Neves Marques’s A Mordida (The Bite) — the filmmaker, writer and visual artist’s first U.S. museum solo show, which opened December 4 at Pérez Art Museum Miami — puts Zika and rising Far Right sentiment in conversation, suggesting […]
by Whitney Mallett on Dec 19, 2018 -
The Black List Announces its 2018 Screenplays
The 13th edition of The Black List has just been released. Founded by development executive Franklin Leonard, the list is a survey of the best un-produced screenplays in Hollywood, according to an anonymous selection of agents, managers, and production companies. Topping the list is Frat Boy Genius, a seemingly Social Network style take on Snap’s Evan Spiegel. Other highlights include a new project from Lena Waithe, and Nobody Nothing Nowhere, written by last year’s 25 New Faces Rachel Wolther and Alex Fischer. Read on for the full list. 36 Votes: Frat Boy Genius by Elissa Karasik A disgruntled employee of Snapchat tells the […]
by Sarah Salovaara on Dec 17, 2018
