6582 Results for “production”
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“I’ve Realized How Much More Creative I Am When I Allow Myself Rest” | Adamma Ebo, Honk for Jesus. Save Your Soul
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? The aspect of my filmmaking/creative process that I’ve had to reinvent during these last two years is how I reinvigorate my creative mind. I used to […]
by Filmmaker Staff on Jan 23, 2022 -
“Perhaps We Were Swayed Into Making Something a Little More Joyous” | Jim Archer, Brian and Charles
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? There wasn’t much creatively that we wanted to reinvent with Brian and Charles, particularly as some of the main themes of the film are loneliness and […]
by Filmmaker Staff on Jan 23, 2022 -
Sundance 2022 Critic’s Notebook: Speak No Evil, Resurrection, Happening
Shudder announced the acquisition of Christian Tafdrup’s Speak No Evil just before the film’s Sundance premiere. It’s probably one of this year’s breakout titles—at any rate, enough people in my Twitter feed recommended it to redirect me from previously planned viewing and Tafdrup’s freshly signed to WME. In his “Meet the Artist” video, the co-writer (with his brother, Mads) and director displays an entertaining flair for hammy hucksterism in an Alfred Hitchcock Presents intro vein. Sitting in front of a fire, he smilingly reads out comments from a test screening (“The director has to be mentally examined”; “A horrible, horrible film”; “This film […]
by Vadim Rizov on Jan 23, 2022 -
“My Goal for This Film Was to Combine Two Completely Distinct Styles in a Way that Seamlessly Tells the Story”: DP Alan Gwizdowski on Honk For Jesus. Save Your Soul
In Honk For Jesus. Save Your Soul combines faux-documentary and straightforward cinematic narrative styles to tell the story of a couple attempting to rebuild the congregation at their once-thriving megachurch in the aftermath of a scandal. Cinematographer Alan Gwizdowski discusses how he combined the two styles in a way that was intuitive for the audience while emphasizing the ambiguities of the narrative and the film’s critique of documentary filmmaking. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Gwizdowski: Another cinematographer, Adam Bricker, […]
by Filmmaker Staff on Jan 23, 2022 -
“The Oppressive Voyeurism You’re Constantly Surrounded By As a Woman”: Writer/Director Chloe Okuno and Co-Writer Zack Ford on Watcher
The eerie, nagging feeling of being watched is elevated to a hauntingly tangible reality in Watcher, the feature directorial debut of Chloe Okuno. Co-written by Okuno (recently acclaimed for helming the “Storm Drain” segment in the horror anthology V/H/S/94) and seasoned screenwriter Zack Ford (who in 2021 ran for mayor of Skaneateles, NY before ultimately relocating to L.A.), the film follows Julia (Maika Monroe) and Francis (Karl Glusman), a young American couple who relocate to Bucharest for Francis’s work. Shortly after settling into their minimalist new digs, Julia begins to notice an unsettling presence in her most intimate spaces. As […]
by Natalia Keogan on Jan 22, 2022 -
“It’s a Lot Easier to Make a Genuine Connection With Someone Without a Whole Bunch of Gear in Between You and Them”: DPs Zac Manuel & Justin Zweifach on Descendant
Just north of Mobile, Alabama is the historic community of Africatown founded by 32 West Africans who were transported to the US on the Clotilda, the last known slave ship to enter the country. Margaret Brown’s Descendant tells the story of the descendants who still reside in Africatown, as well as of the persistent power imbalance between the descendants of the slaves and the descendants of the Meaher family that chartered the expedition, who today own much of the industrialized land and factories around Africatown. Cinematographers Justin Zweifach and Zac Manuel discuss what they learned making the film and how they […]
by Filmmaker Staff on Jan 22, 2022 -
“This Film is Here to Illuminate and Mediate Objectification for You”: Editor Cecily Rhett on Brainwashed: Sex-Camera-Power
Brainwashed: Sex-Camera-Power is Nina Menkes’ adaptation of her own talk connecting the objectification of women in cinema to employment discrimination and sexual assault. Unlike the talk, however, the film is organized thematically rather than chronologically, and it makes use of film clips and interviews with women who have worked in the industry to makes its connection. Cecily Rhett, the film’s editor, explains how she structured the film and how it vindicated her feelings about the insidious effects of sexism within the film industry. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and […]
by Filmmaker Staff on Jan 22, 2022 -
“I Wanted the Cinematography to Take a Backseat to the Story and Main Character”: DP Adam Stone on 2nd Chance
2nd Chance continues director Ramin Bahrani’s concern with people on the margins of society pursuing the American Dream. The documentary examines the case of Richard Davis, a bankrupt pizzeria owner who invented the bulletproof vest, only to find his reputation sullied after a defective product led to the death of a police officer. Below, cinematographer Adam Stone explains how the intrigue of the subject led him to take a hands-off approach that emphasized character and narrative rather than style. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led […]
by Filmmaker Staff on Jan 22, 2022 -
“The Idea of an ‘Audience’ Has Been Deconstructed” | Amy Poehler, Lucy and Desi
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? It has been an interesting process to work on a film about two true innovators, Lucille Ball and Desi Arnaz, while show business has had to […]
by Filmmaker Staff on Jan 22, 2022 -
“Skate Videos Really Influenced My Sensibility as a Filmmaker”: Editor Bryan Mason on Good Luck to You, Leo Grande
In Good Luck to You, Leo Grande, Emma Thompson plays a retired schoolteacher who is certain she has never had good sex. She decides to change that by checking into a hotel room and hiring a sex worker, but he quickly appears to take an interest in her that is more than professional. Much of the film consists of these two characters in a hotel room, and editor Bryan Mason discusses the importance of highlighting performances and chemistry to keep the audience’s attention. Filmmaker: How and why did you wind up being the editor of your film? What were the factors […]
by Filmmaker Staff on Jan 22, 2022
