6824 Results for “production”
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Seeing Eye to Eye: Color Correction Styles Across Today’s Film Restorations
Going to the cinema to see a 4K restoration or buying a Blu-ray of a beloved classic from a boutique publisher, one is never quite sure what one will get, colorwise. Frequently, a distinctly tinted veil seems to have fallen over the screen from the first frame. Sometimes, this is a chilling greenish blue, one that bronzes flesh tones and adds a steely, Melvillean atmosphere to the proceedings. On other occasions, it is yellow, as if golden hour had found a way to fall day and night, indoors and out, then curdled from its newfound monotony into a stubborn, pissy […]
by Bingham Bryant on Dec 15, 2022 -
Outsmarting the Disruptors: Greg Mottola Interviews Rian Johnson on Glass Onion: A Knives Out Mystery
In August, Rian Johnson was among the directors with Netflix projects invited to show works that inspired them at the company-owned Paris Theater in New York City. Among the movies Johnson selected were two whose influence is directly perceptible on Glass Onion: A Knives Out Mystery, the first of two sequels to his 2019 hit the writer-director is making for the streamer. From his 1973 favorite The Last of Sheila, Johnson borrows the opening set-up: A dangerously wealthy man invites a group of friends (or are they just parasites?) to join him for a week of elaborate games amidst beautiful […]
by Filmmaker Staff on Dec 15, 2022 -
Daydreaming, Neuroscience and Screenwriting: The Imaginative Teaching of Mary Sweeney
“I have always had a hard time explaining my creative process to people,” says Mary Sweeney, a professor of screenwriting in the John Wells Division of Writing for Screen & Television at the School of Cinematic Arts at the University of Southern California. Sweeney boasts a long list of filmmaking credits but may be best known for her collaborations as a producer, writer and editor with filmmaker David Lynch. In particular, Sweeney edited Lost Highway and Mulholland Drive, two deliriously dreamy films that highlight a form of poetic cinema and a creative process that Sweeney hopes to share with students. […]
by Holly Willis on Dec 15, 2022 -
An Interview With Glass Onion Producer Ram Bergman
In the early 1990s, the playbook for beginning independent producers used to be this: Find a budding auteur, make their first ultra-low-budget film, sell it at a festival, then partner with the director on larger, increasingly successful projects, allowing both careers to grow symbiotically. Independent film does contain such partnerships—Christine Vachon and Todd Haynes is a notable one and, more recently, the producing team of Toby Halbrooks and James M. Johnston and director David Lowery—but countless others fizzle out. Sometimes, the stress of a first feature generates behavior from either party that shuts down any thought of future collaboration. Other […]
by Scott Macaulay on Dec 15, 2022 -
The Carrier Bag Theory of Nonfiction Filmmaking: What Documentarians Can Learn from Ursula K. Le Guin
I teach documentary studies and production at the Skidmore College MDOCS program and run the MDOCS Storytellers’ Institute. When non-tenure track faculty recently organized to form a union, MDOCS curated a series of labor-related films to add to the conversation around labor organizing on campus. What should have been a fun project became increasingly frustrating because all the documentaries we found centered strikes—the most conflict-oriented, high-stakes and visible side of unionization. What we wanted to feature were the less-visible processes of labor organizing: meetings, conversations, collaborations and negotiations. We ended up screening two excellent films about striking workers, and although the screening generated […]
by Sarah Ema Friedland on Dec 15, 2022 -
Kept in Sync: Paul Rogers on Editing Everything Everywhere All At Once
Everything Everywhere All At Once editor Paul Rogers first met co-directors Daniel Kwan and Daniel Scheinert, or the Daniels, at OMG CAMERAS EVERYWHERE, a free filmmaking summer camp pairing kids with established filmmakers to shoot videos for musicians like Daft Punk, Diplo and Benny Blanco. When I called Rogers via Zoom to interview him, Scheinert sat beside him with a guitar and occasionally chimed in: “The first thing we worked on together was a silly music video with kids—no rules, directions or studio notes. We just had to make something that would make the kids excited about what they did […]
by A.E. Hunt on Dec 15, 2022 -
Within the Silences: The Sound Team Behind TÁR
TÁR opens with its namesake, played by Cate Blanchett, being interviewed in front of a packed audience at The New Yorker Festival. The chat serves multiple functions. It delivers the character’s backstory as an EGOT-winning classical composer and conductor, establishes the film’s immersive, observational style and lets the viewer experience sound the way that Lydia Tár experiences it. During the interview, the festival’s audience is only heard as a communal mass. It laughs together. It applauds together. There is no ambient chatter, no whispered asides, no rustling clothes or shuffling feet. It’s only when the interviewer asks about the influence […]
by Matt Mulcahey on Dec 15, 2022 -
The 24 Features of 2022 Shot on 35mm
The main poster for Steven Spielberg’s The Fabelmans displays its characters within the frames on three strips of celluloid: young Steven Spielberg stand-in Sammy Fabelman (Gabriel LaBelle) holding a 16mm camera, mom Mitzi (Michelle Williams) dancing in car headlights, etc. This makes sense for the “childhood of a 1970s filmmaker” plot, and it tracks technically as well. Like every Spielberg feature—save the digital-world portions of Ready Player One, the CG of The BFG and the mocap experiment of The Adventures of Tintin—The Fabelmans is shot on 35mm. But look closely and this key art doesn’t make any sense: The vertical […]
by Vadim Rizov on Dec 15, 2022 -
“Blue Screen? Process Trailer? LED Screens?” DP Lol Crawley on White Noise
Don DeLillo’s 1985 novel White Noise was for years considered too difficult to bring to the screen. With its jaundiced view of academia, intimate domestic melodrama, obsessions with cults and an eerily prescient pandemic, the novel spans genres and styles. Working for the first time in his career on an adaptation, writer and director Noah Baumbach started shooting primarily in the Midwest in June 2021. Starring Adam Driver, Greta Gerwig, and Don Cheadle, White Noise premiered at Venice and opened this year’s New York Film Festival. This is the first collaboration between Baumbach and cinematographer Lol Crawley, BSC. They faced enormous […]
by Daniel Eagan on Dec 9, 2022 -
Stage to Screen: Theater Director Lila Neugebauer on Her Feature Film Debut Causeway
On the rare occasion a theater director receives an opportunity to direct for the cinema, it’s typically due to the project in question being a play adaptation (some, like John Patrick Shanley, toggle between adapting their own plays and directing original material). It was, then, noteworthy to me when Causeway (originally titled Red, White, and Water) was announced as the first feature for New York-based director Lila Neugebauer, whose Broadway production of Kenneth Lonergan’s The Wavery Gallery, with Elaine May starring in a Tony Award-winning performance, had recently concluded in early 2019. Not based on pre-existing material, Causeway was to be […]
by Erik Luers on Dec 9, 2022
