6584 Results for “production”
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Editor’s Letter
“Hollywood Flirts with Short Films on the Web” was a New York Times headline from June 2000. Sites like iFilm, Pop and, most prominently, AtomFilms were seeking broadband gold by streaming shorts online. AtomFilms even had a coup—it had just “premiered” George Lucas’s USC film school short, Electronic Labyrinth: THX-1138 4EB. In the article, Atom CEO Mika Salmi talked about the new and growing audience ready to devour shorts “on airplanes, in shopping malls and even in elevators,” while the author also wrote about shorts budgets heading into the millions of dollars. Just three months later the dotcom crash would […]
by Scott Macaulay on Jun 19, 2019 -
Lens Flair
Bradford Young and Neil Fanthom first forayed into edgier glass during their collaboration on Solo: A Star Wars Story. Fanthom, Arri’s director of technology at the time, worked with Young, the acclaimed cinematographer of Arrival, Selma and A Most Violent Year, to develop a set of Arri Prime DNA lenses personally tailored to his needs. The DNAs are essentially rehoused vintage glass meant to cover the Alexa 65 sensor, fine-tuned and developed from the ground up for the specific needs of a cinematographer on a particular film. While testing the lenses for Solo, Fanthom called in Young to look at […]
by A.E. Hunt on Jun 19, 2019 -
Seamless Transitions: Remembering Stanley Donen
In 2003, I was at Columbia University getting a masters degree in film and television. A friend who had just graduated called me with a rather unusual offer. Stanley Donen—the prolific and award-winning director of Singin’ in the Rain and Seven Brides for Seven Brothers, who died this February at age 94—was looking for a producer. My friend had been talking to him about taking the job, but when Stanley found out he would be graduating in a few months, he asked him to find someone who was still a student. “It’s a student film,” he said. I didn’t get […]
by Ben Odell on Jun 19, 2019 -
Mansion on the Hill: Jimmie Fails and Joe Talbot on The Last Black Man in San Francisco
Jimmie Fails and Joe Talbot, the creative team behind The Last Black Man in San Francisco, have the kind of backstory that’s the stuff of publicists’ dreams, a compact anecdote that grounds their feature debut. Both are native San Franciscans and met around age 10: Talbot had gotten into a fistfight, and Fails came onto the street just in time to help. The two became lifelong friends, a relationship that mutates into new form in their film. Fails (who cowrote the film’s story with director Talbot; the script’s cowriter is Rob Richert) stars as a version of himself: a lifelong […]
by Zach Mandinach on Jun 19, 2019 -
Revision Mode: Co-creator Leslye Headland on Russian Doll
You start with a character, or a situation, perhaps, and then…what? You work out the next step, get through maybe a scene, or an episode, or a first act, and larger themes and ideas emerge. And then, realizing that what you’ve done is all wrong, you rip it all up and start over. When the eight episodes of Russian Doll—the New York East Village–set fantastical time-loop drama starring Natasha Lyonne and created by Lyonne, Amy Poehler and Leslye Headland—dropped on Netflix earlier this year, my social media feeds all exploded. Everyone seemed to be watching this show, its storyline connecting […]
by Scott Macaulay on Jun 19, 2019 -
Watch: Guts, Noah Hutton and Taylor Hess’s Short Doc on the Feminist, Anti-Colonial Environmental Lab, CLEAR
“Reproducing the status quo is deeply political because the status quo is crappy,” says the Newfoundland-based Civic Laboratory for Environmental Action Research’s Max Liboiron in Taylor Hess and Noah Hutton’s sharp and inspiring short doc, Guts, currently streaming at The Atlantic (and embedded above). At CLEAR, Liboiron’s work is both deeply political as well as practical. Her environmental science examining the effect of plastic pollutants on animal and human environments and food chains poses a more-than-rhetorical challenge to mainstream ideas around recycling and environmental cleanup. From The Atlantic: In the documentary, she asks a group of well-intentioned recyclers to look […]
by Scott Macaulay on Jun 18, 2019 -
Day For Night on The Dead Don’t Die: Director Of Photography Frederick Elmes Shoots Jarmusch’s Zombies
Fred Elmes invited me to a DI Theater at Harbor Picture Company, a post-house bustling around the corner from Film Forum, to talk about his work on Jim Jarmusch’s The Dead Don’t Die. There was just an hour left of the allotted time to finish the HDR version of the film when I arrived at the DI suite, but Fred retained his cool as he lulled us to the finish line. In my time there, he liked to vignette the edges more or less, and bring faces up or down a level or two. Usually down. Our meeting there was […]
by A.E. Hunt on Jun 17, 2019 -
What to See at the 2019 BAMcinemafest
Following its very good opening night film — Lulu Wang’s The Farewell (also Filmmaker’s forthcoming Summer issue cover) — BAMcinemafest the Brooklyn Academy of Music’s essential early summer fest, is underway. This year’s edition is typical of the fest: a well-curated and relatively compact mix of recent festival standouts, a world premiere or two, and assorted other programs, including tomorrow’s day-long (and free) program of industry panels presented in collaboration with IFP. The festival runs until June 22, and for those in or headed to Brooklyn, here are some recommendations from us at Filmmaker. So Pretty. Jessie Jeffrey Dunn Rovinelli’s […]
by Scott Macaulay on Jun 14, 2019 -
An On-Set Education: Graham Swon on The World is Full of Secrets
When The World is Full of Secrets showed earlier this year at a festival for debut films in remote Khanty-Mansiysk, Siberia, its director, Graham Swon (a 25 New Face of Film in 2016), briefly became almost as much of interest to the public audience and critics there as did his hypnotic cinematic spectacular. That I was there as the only international journalist in attendance to witness Swon fielding eager questions from this newfound audience of intrigued Siberian spectators strikes me now as a fluke of wondrous good fortune. The movie’s long, discursive monologues, in which 15- and 16-year-old girls narrate […]
by Christopher Small on Jun 14, 2019 -
“A Movie Where Nobody Wears Clothes and It’s PG-Rated”: Jessie Jeffrey Dunn Rovinelli on So Pretty
Before Jessie Jeffrey Dunn Rovinelli began the bulk of production on her second feature So Pretty, she wrote an essay for this site outlining some of the goals and background behind the production: The film is an adaptation of a 1980s German gay novel [Ronald M. Schernikau’s So Schön] that I am transposing and translating to a cast of feminine people of many genders in 2018, New York City. […] Given the explicit gender-trouble and queer elements of So Pretty, as well as the fact that it takes seriously the novella’s paraphrased subtitle “a utopian film,” my film must create an image […]
by Vadim Rizov on Jun 12, 2019
