6577 Results for “production”
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“We Cut Countless Versions of this Scene”: Editors Bing Liu and Joshua Altman on Minding the Gap
Joshua Altman cut his first Sundance-bound documentary in 2009 with We Live in Public. The film – Altman’s first as an editor of documentary features – went on to win the Grand Jury Prize for documentary at the festival. Since then, Altman has cut five more docs to premiere at Sundance: The Tillman Story (2010), Bones Brigade: an Autobiography (2012), We Are The Giant (2014) and, in 2018 alone, both Kailash and Minding The Gap. The latter film he cut with film’s director, Bing Liu. Liu himself appears in the film among a trio of friends who bond over skateboarding in their Rust Belt town. Below, […]
by Filmmaker Staff on Jan 26, 2018 -
“I Had to Face My Phobia of Using Lights”: DP Hatuey Viveros Lavielle on Night Comes On
For her first directorial feature following three shorts, Night Comes On, actor Jordana Spiro reteamed with DP Hatuey Viveros Lavielle. The feature follows a young woman just released from juvenile prison (Dominique Fishback of The Deuce), whose plans are derailed when she’s unexpectedly reunited with her 10-year-old sister (newcomer Tatum Marilyn Hall), who’s been placed in foster care. Prior to the fest, Lavielle described her collaboration with Spiro and affinity for natural light as forces shaping Night Comes On. 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 […]
by Filmmaker Staff on Jan 26, 2018 -
“This Film Started Because I Needed to Capture Moments”: Director and DP Rudy Valdez on The Sentence
NYC-based filmmaker Rudy Valdez began filming The Sentence more than 10 years ago. In those early years, he wasn’t making a documentary: He was filming moments to share with his sister Cindy, who was serving a draconian 15-year sentence in prison. The footage soon took shape into a feature doc on his family’s quest to fight for Cindy’s release during the final years of the Obama administration. Below, Valdez discusses mass incarceration, filming his own family and why looking at old documentary photographs reminds him “to be patient and capture moments.” Filmmaker: How and why did you wind up being […]
by Filmmaker Staff on Jan 26, 2018 -
“I Try to Achieve an ‘Augmented Reality’ in My Lighting”: DP Anton Floquet on Imagine Dragons Doc Believer
Director and DP Don Argott is one of three co-founders of 9.14 Pictures, the production company behind such recent documentaries as Rock School, The Art of the Steal and Last Days Here. Their latest film, Believer, is a profile of Imagine Dragons’ vocalist Dan Reynolds. The film concerns Reynolds’ faith as he wrestles with homophobia within the Mormon church. Argott hired DP Anton Floquet to shoot the film, which covers a tumultuous year in Reynolds’ life. Floquet spoke with Filmmaker ahead of the film’s premiere at Sundance about how he got the job, the importance of a small field crew and the film’s […]
by Filmmaker Staff on Jan 26, 2018 -
“Film is About Making Magic with These Kind of Challenges”: DP Diego García on Wildlife
For his directorial debut, Paul Dano adapted Richard Ford’s 1990 novel, telling the story of a marriage that falls apart between Jerry (Jake Gyllenhaal) and Jeanette Brinson (Carey Milligan), as seen through the eyes of their 14-year-old son Joe Brinson (Ed Oxenbould). Serving as Dano’s DP, Diego García’s prominent recent credits include Apichatpong Weerasethakul’s Cemetery of Splendour and Gabriel Mascaro’s Neon Bull. Below, García discusses their mutual influences (including Kore-eda Hirokazu and The Master) and use of Panavision spherical primo lenses. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your […]
by Filmmaker Staff on Jan 26, 2018 -
“A Performance is Really About Digging Into the Footage”: Editor Andrew Hafitz on Beirut
Returning to Sundance long after his first appearances there with Next Stop, Wonderland and Happy Accidents, among others, Brad Anderson’s Beirut is a thriller made from a quarter-century-old script by Tony Gilroy (Michael Clayton, Duplicity). Jon Hamm stars as a former diplomat, Mason Skiles, who returns to Lebanon a decade after his former posting there, getting involved in a complex hostage situation involving a standoff with his former friend-turned-terrorist Karim (Idir Chender). Editor Andrew Hafitz (The Last Days of Disco, Bully, Keane) explains how his verite background helps inform his approach to cutting and which two directors taught him the most. Filmmaker: How and why did you […]
by Filmmaker Staff on Jan 26, 2018 -
“The Chaos of the Race Track Was a Constant Challenge”: DP Gregory Kershaw on The Last Race
The documentary debut from fine art photographer Michael Dweck, The Last Race screens five times in competition at the 2018 Sundance Film Festival. The film tells the story of Riverhead Raceway, a decades-old race track on Long Island. At one time Long Island hosted roughly 40 such tracks; today, Riverhead is the only one that remains. Filmmaker Gregory Kershaw served as both cinematographer and co-producer on the film. Below, he spoke with Filmmaker about the physical toll of filming at a loud and fume-filled race track, the influence of Errol Morris’ early films and the logistical madness of having “10 cameras mounted on […]
by Scott Macaulay on Jan 26, 2018 -
“I Wanted the Film to Have the Tactile Feel of the Vinyl Sound”: DP Eric Lin ON Hearts Beat Loud
Director Brett Haley arrives at Sundance for a second year with a new dramatic feature. In 2017 Haley premiered The Hero, which went on to earn more than $4 million in the U.S. box office. He returns to Park City this year with Heart Beat Loud, a music-driven drama set in Red Hook, Brooklyn. The film stars Nick Offerman as a single dad who bonds with his daughter (Kiersey Clemons) through their shared love of playing music. DP Eric Lin (I Smile Back, Equity) shot the feature. Lin spoke with Filmmaker before the film’s screenings at Sundance about filming musical performances […]
by Filmmaker Staff on Jan 26, 2018 -
“I Had Never Done a Movie Like this Before, But Who Really Has?” DP Juan Sebastian Baron on Search
How do you film a movie like Search? Taking place entirely on computer screens, the film follows in the footsteps of the 2014 horror film Unfriended, which similarly placed viewers in front of a computer and left them there for 90 minutes. Director Aneesh Chaganty hired his fellow USC alum Juan Sebastian Baron to shoot the project. To mimic the many video formats one encounters in modern digital life, Sebastian Baron shot the film using GoPros, iPhones, MiniDV cameras and the Canon 6D, to name a few of the cameras required to pull off this project. Search premieres in the […]
by Filmmaker Staff on Jan 26, 2018 -
“Editing Is a Process of Rewriting”: Editor and Director Jérémy Comte on Sundance Short Fauve
Montreal-based filmmaker Jérémy Comte makes his Sundance debut with Fauve, a French-language drama in the Shorts program of the festival. Comte’s previous short, Ce qu’il reste, premiered at the Berlin International Film Festival in 2016. Comte served as writer, director and editor on both films. Below, he discusses the art of increasing tension without music, avoiding the “overdramatic” and the invisible role of VFX in the film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Comte: Being the director of the film, I had the […]
by Filmmaker Staff on Jan 26, 2018
