6580 Results for “production”
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“Over-Coverge is the Enemy of Style”: DP Jules O’Loughlin on The Old Man and Ms. Marvel
In Disney’s Ms. Marvel, a teen in an exuberantly colored Jersey City discovers super powers after slipping a magical bangle on her wrist. In FX’s The Old Man, a septuagenarian dusts off a long-dormant aptitude for violence when his former life as a CIA operative catches up with him. In the overlapping Venn diagram of these seemingly disparate shows, you’ll find cinematographer Jules O’Loughlin. The Australian DP shot two episodes of each series, which also share critical flashbacks set on different continents than their main story, as well as shoots that were greatly affected by COVID. With both shows now […]
by Matt Mulcahey on Jul 27, 2022 -
Sundance Institute Announces 11 Producers Lab Fellows, Summit Participants for 2022
The Sundance Institute announced today the fellows selected for this year’s Producers Lab (July 25-28) alongside the participants in its Producers Summit (July 29-31). The forthcoming Lab features 11 fellows, with six fiction and five non-fiction producers among them, each with specific projects. More than 40 industry leaders and 26 independent filmmakers will also be involved in the subsequent Producers Summit. From the press release: The Producers Labs support emerging independent producers through intimate group sessions and one-on-one meetings with veteran producer advisors to hone their creative instincts, communication, and problem-solving skills and to develop strategies for pitching, financing, production, […]
by Filmmaker Staff on Jul 25, 2022 -
When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On
There’s a saying that a movie is made three times: once when it’s written, once when it’s shot and once when it’s edited. To create the new A24 release Marcel the Shell with Shoes On, that maxim had to expand to accommodate an additional creative cycle. Marcel, the story of a chatty one-inch tall seashell searching for his family, was in essence shot twice. First, cinematographer Bianca Cline captured the live-action components, leaving a Marcel-sized space in the compositions. Months later, armed with copious notes to match lighting, lensing, focus, etc., stop motion director of photography Eric Adkins brought Marcel […]
by Matt Mulcahey on Jul 20, 2022 -
“There Are Only So Many Ways to Light a Kitchen with a Low Ceiling”: Ellie Foumbi and DP Tinx Chan on Our Father, The Devil
The past haunts Marie, a chef in a retirement home in the small French village of Luchon. An exile from violence in Africa, she has closed herself off to all but a handful of friends. Then, a new arrival forces Marie to confront a world she has tried to forget. Written and directed by Ellie Foumbi, Our Father, The Devil was shot on a 20-day schedule. It was developed in part through Venice’s Biennale College Cinema. The film screened at the Venice Film Festival and recently at the Tribeca Film Festival, where it won the Best Narrative Feature Audience Award. […]
by Daniel Eagan on Jul 19, 2022 -
“The Story of the Borderlands Is Not Singular”: Cathy Lee Crane on Drawing the Line
Filmmaker last interviewed veteran multimedia artist Cathy Lee Crane about her first feature-length narrative film The Manhattan Front, which combined staged performances and archival footage from the National Archives in DC to present the strange but true entanglement of a WWI German saboteur with the progressive labor movement of activist Elisabeth Gurley Flynn. While Crane’s latest selection of works likewise resurrects buried US history, they tread territory even further back in time, all the way down to the border, and are currently being shown a continent away. Throughout the month of July, the Harun Farocki Institute in Berlin will be showcasing several projects […]
by Lauren Wissot on Jul 18, 2022 -
Battles Won and Lost
In 2015, Tom Secker’s website SpyCulture.com published 1,669 pages of documents from the US Marine Corps Entertainment Liaison Office obtained under the Freedom of Information Act. Spanning 2008 to 2015, these internal reports from a variety of entertainment projects covering requests for support from the Marines have become freshly relevant with the success of Top Gun: Maverick and renewed scrutiny of American military involvement with film productions. Below, a selection of highlights. ** NOTICE: This report contains information on the development and progress of TV programs, feature films, and other entertainment-oriented media projects. This information is shared with the Marine […]
by Vadim Rizov on Jul 14, 2022 -
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 -
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
