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“Often We are Communicating Without Words”: DP Daniele Massaccesi on The Matrix Resurrections
After more than 25 years of making movies alongside her sister, Lana Wachowski’s first solo feature revisits the siblings’ most famed creation with a new installment of The Matrix, The Matrix Resurrections. Daniele Massaccesi knows something about making movies with family. The Matrix Resurrections co-cinematographer grew up on the sets of his father, Aristide Massaccesi, a cult figure in the 1970s and 1980s Italian exploitation era who often worked under the pseudonym Joe D’Amato. Daniele Massaccesi eventually graduated from lugging batteries and lens cases on his dad’s Italian Mad Max and Conan the Barbarian variations to become a sought-after Steadicam […]
by Matt Mulcahey on Feb 8, 2022 -
Back to One, Episode 189: Joey King
She has been acting professionally for the better part of two decades, so Joey King has a bit more experience than the average 22-year-old Hollywood actor. And after the gigantic surprise success of The Kissing Booth, and its subsequent sequels, she knows what it’s like to have a global hit on her hands. Add an Emmy nomination for her phenomenal work in The Act to her resume, and you have a well-respected actor/producer with a constant pile of scripts on her desk and first-look deals at Hulu and Netflix. In this episode, she explains how it only seems like it’s […]
by Peter Rinaldi on Feb 8, 2022 -
“120 Years of the Male Gaze On Our Backs”: Nina Menkes on Brainwashed: Sex-Camera-Power
“Perception is not whimsical, but fatal.” — Ralph Waldo Emerson Movies turn viewers into willing participants looking to break through the screen—the “fourth wall”—and temporarily adopt the POV of the camera and taking on its surveying gaze. Your own emotional response may vary—excitement, titillation, utter boredom—but the camera’s eye is your own, if only for the duration of the film. In her landmark essay, “Visual Pleasure and Narrative Cinema,” written in the 1970s, scholar and filmmaker Laura Mulvey introduced the concept of the “male gaze,” arguing that the camera’s eye was inherently male and could often be misogynistic in its depiction […]
by Erik Luers on Feb 4, 2022 -
Watch: DuArt: History of Independent Film
With the recent passing of DuArt Film Laboratories Chairman Irwin Young, we’re posting this video kindly flagged to us by David Leitner, whose one of those on-screen detailing the history of DuArt — everything from its role as a technical innovator to the support it gave to the New York independent community. A panel discussion hosted by the Post New York Alliance in December, 2021, the video features in addition to Leitner former DuArt employees Dominic Rom (Goldcrest), Tim Spitzer (Jigsaw Productions), Bob Mastronardi (Kodak) and Jane Tolmachyov (Goldcrest). A bonus is a short video at the end about Young […]
by Scott Macaulay on Feb 4, 2022 -
Remembering DuArt Film Laboratories Chairman Irwin Young
Irwin Young, a foundational figure in the New York independent film world, died January 20, in Manhattan, at the age of 94. Chairman of DuArt Film Laboratories, his contributions across the field, which range from technical and business innovations to philanthropy to, simply, extending support to new and emerging filmmakers, are embedded within so many films that now define the American independent film movement. As distributor and director Ira Deutchman wrote at Indiewire, “If there were a Guinness Book of World Records entry for most ‘thank you’ credits at the end of films, I can’t imagine that anyone else could […]
by Scott Macaulay on Feb 4, 2022 -
I Wouldn’t Be In Your Shoes!, The Gift and 1408: Jim Hemphill’s Home Video Recommendations
Walter Mirisch is best remembered today as the producer of studio prestige releases like In the Heat of the Night, The Apartment, and the original West Side Story, but before he became one of Hollywood’s most reliable sources of “A” pictures he toiled away in the “B” trenches of Poverty Row company Monogram. He kept the studio in the black with his Bomba the Jungle Boy series, but before establishing that franchise he produced a pair of noir movies based on material by Cornell Woolrich, the suspense writer who would hit paydirt with Hitchcock’s Rear Window. Mirisch’s first solo Monogram […]
by Jim Hemphill on Feb 4, 2022 -
“You Don’t Need to Wait for Permission to Create Art”: Celeste Bell and Paul Sng on Their Doc, Poly Styrene: I Am a Cliché
Celeste Bell and Paul Sng’s terrific and deeply moving documentary Poly Styrene: I Am a Cliché casts a hand-hewn spell; much like its subject, the artist and musician Poly Styrene (1957-2011), it conjures a collaged world that is alternately intentional and reflective, yet steeped in the search for a certain liberating transcendence from the impositions of identity, family and memory. Born Marian Elliot, in Bromley, Kent to a white British mother and Somali father, and raised in Brixton, Poly made art from an early age. She wrote, drew, made her own clothes, and formed the band X-Ray Spex at 19. The […]
by Madeleine Molyneaux on Feb 2, 2022 -
SXSW Announces Its 2022 Film Program
SXSW announced today the 99 features and other works comprising its 2022 film program. Taking place as a live event in Austin, TX from March 11 – 20, the festival will live premiere all of its films, and filmmakers have the choice as well to screen in day-after 48-hour viewing windows online. (These viewing windows will be subject to capacity limits and will be geoblocked to the U.S.) From the press release: “The last two years have been complicated, and full of uncharted new waters for all of us. While there’s been innovation in building community in isolation and figuring […]
by Scott Macaulay on Feb 2, 2022 -
Back to One, Episode 188: Alan Ritchson
He played Aquaman on Smallville and Hawk on Titans, and now Alan Ritchson is taking on the role of Reacher in the new Amazon series based on the Lee Child books. Child highlighted the “blend of menace and goodwill” that Ritchson brings to the role as something that attracted him to the actor. Ritchson talks about how the super long audition process functioned almost like a workshop for him to experiment with different approaches to the character, which paid off when he landed the part and finally got in front of the camera. He tells another story of a very […]
by Peter Rinaldi on Feb 1, 2022 -
Sound and Visionaries ’22: Our Picks for Awards Season’s Most Exciting Below-the-Line Artists
Filmmaker‘s current print edition contains our annual section devoted to the below-the-line artists that excited us through this Fall’s awards season. Read below profiles by Abby Bender, Scott Macaulay, Matt Mulcahey, Vikram Murthri and Vadim Rizov, and, if you haven’t checked out these films, we recommend you do! Cinematography: Passing‘s Edu Grau, by Matt Mulcahey. Costume Design: Belfast‘s Charlotte Walter. Editing: Licorice Pizza‘s Andy Jorgenson, by Vikram Murthri. Original Score: The Power of the Dog‘s Jonny Greenwood, by Scott Macaulay Production Design: The Tragedy of Macbeth‘s Stefan Dechant, by Erik Luers Sound: The Memoria Sound Team of Akritchalerm Kalayanamitr, Richard […]
by Filmmaker Staff on Jan 30, 2022
