6576 Results for “production”
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DP Henry Braham on Shooting Guardians of the Galaxy Vol. 2 with the First Weapon 8K Vista Vision Full Frame Camera
Compared to the rest of the Marvel Cinematic Universe, with its squeaky clean Captain America and solemn United Nations accords, the Guardians of the Galaxy — a rogues’ gallery of smugglers, thieves and assassins — are outliers. Yes, by the end of Guardians Vol. 2 the titular team are two-time galaxy savers. But for Rocket, the genetically enhanced trash panda voiced by Bradley Cooper, that just means they can jack up their rates. Guardians’ departure from the status quo of Marvel’s ever-bloating Avengers coalition – which they will no doubt eventually be subsumed by – extends to behind the camera as […]
by Matt Mulcahey on Jun 8, 2017 -
From Race to Resistance to Refugees: The 28th Human Rights Watch Film Festival
The 28th edition of the Human Rights Watch Film Festival, running June 9-18 at NYC’s Film Society of Lincoln Center and IFC Center, will be showcasing 21 feature docs and panel discussions (and no fiction films – a smart programming move as the fiction films in past years inevitably ended up the weakest links in the lineup). Glancing through the program there looks to be a whole lot of timely stuff to choose from, including a “From Audience to Activist” discussion in which “filmmakers, journalists and activists share best practices on how to hold powerful institutions accountable safely and effectively,” […]
by Lauren Wissot on Jun 8, 2017 -
Night School Director: “Why I (Only) Make Films in the Midwest”
With Oscilloscope releasing his latest documentary, Night School, this Friday in New York at the IFC Center and June 23 at the Laemmle Theater in Los Angeles (with nationwide roll-out to follow), filmmaker Andrew Cohn posts this guest essay about his choice to make films largely in America’s heartland. Here he recounts his experience making his previous film, Medora, and how it made him question the motives and strategies many non-fiction filmmakers bring to their depiction of Midwestern subjects. Oscilloscope will donate a portion of all proceeds from ticket sales to educational initiatives at Goodwill Industries’ McClelland Scholars, the organization […]
by Andrew Cohn on Jun 7, 2017 -
Mr. Robot, Man in the High Castle and More are Dissected at the Inaugural Split Screens Festival
The inaugural year of Split Screens Festival, celebrating the art and craft of television, kicked off Friday night, June 2, at New York’s IFC Center, and it runs through June 8. The festival’s programming team is headed by Matt Zoller Seitz, Editor-in-Chief of RogerEbert.com, TV critic for New York Magazine and Vulture.com and author of several books on film and television. I attended the first full day of screenings and panels on Saturday, and it was an incredibly varied line-up. Following “The Evolution of TV Criticism,” which I’ll cover in a separate post, there was a showcase of the behind-the-scenes […]
by Audrey Ewell on Jun 5, 2017 -
Oregon Doc Camp: A Weekend in the Woods with Documentary Filmmakers
What happens when 50 documentary filmmakers converge in the woods of Oregon for a long weekend? It sounds like the premise of an episode of Portlandia or a new reality TV show. But Oregon Doc Camp, featuring four days of film talks, screenings, workshops, and campfires at a Silver Fall State Park in Oregon, is something entirely different. It’s a relaxed, non-competitive environment where nonfiction filmmakers can swap war stories, share hard-earned expertise and provide support and feedback. In its fourth year, Oregon Doc Camp, presented by Women in Film Portland from May 18-21, gained momentum with a top-notch lineup of speakers, including editor Kate Amend (The Keepers, The Case […]
by Paula Bernstein on Jun 2, 2017 -
DP Sean Price Williams on Shooting 2-Perf 35mm for the Cannes Competition Film Good Time
“Hey, it’s me,” said Sean Price Williams as he walked up to me at the after-party for Josh and Benny Safdie’s simply fantastic Good Time in Cannes last week. It did take me a second to recognize Williams — cleanly shaven, in a spiffy tux and strolling around a Dior-sponsored event for a film in the Main Competition of the Cannes Film Festival. If Williams seemed like a bit of a happy anomaly there, it’s because, like Good Time itself, the DP has ascended to cinema’s most revered platform with work that’s wholly of a piece with the raw, street-level […]
by Scott Macaulay on May 30, 2017 -
Cannes Dispatch #3: Jeannette, the Childhood of Joan of Arc; The Florida Project; Good Time
Cannes, like virtually every other major international film festival showcasing feature-length filmmaking, is largely devoted to cinema that participates in a primarily theatrical mode — dialogue- and performance-driven works that feature subjects with whom we are meant to empathize to some degree. This is an expectation, fused into the medium’s DNA when it was still young, that is embedded in the layout of the festival itself; it’s the world’s largest film market (and therefore tilts mainstream, toward things that can make money), and the prizes it offers — honouring exemplary screenwriting and thespian turns rather than, for example, montage, photography, […]
by Blake Williams on May 26, 2017 -
Cannes Dispatch #2: Faces Places, Claire’s Camera, The Square
At some point the past year, Rive Gauche icon Agnès Varda and French photographer JR went on a road trip through rural France documenting whatever locals they encountered and, lucky for us, decided to make a movie about it. The main activity of their excursion involved producing pieces for JR’s ongoing Inside Out project, wherein he takes portraits of the subjects he happens upon (or lets them enter into his van-cum-photobooth to capture their own images), prints them out at a scale somewhere between life-size and mammoth, and then pastes the images onto a building or transportation vessel that is meaningful […]
by Blake Williams on May 22, 2017 -
After Letting Go: How Walking Away from My First Film Led to Distribution and then Development on my Next
Last November I wrote a piece for Filmmaker about walking away from my debut film. “Just Let Go Already! 12 Takeaways After Making the Microbudget Feature, The Purple Onion” chronicles the five-year process of making my first feature film and sums up whatever wisdom I can impart to anyone making a film. Filmmaking can be likened to many things. It’s rewarding on so many levels. And yet the truth is that what began as a labor of love was becoming a growing burden with no end in sight. Now I’m here to prove why you should keep going anyway. After […]
by Matt Szymanowski on May 19, 2017 -
Violet: How They Achieved This Stunning 4:3 Film’s Most Stunning Shots
Floating in an ocean of equals parts uncertainty and obscurity after winning the Grand Prix of the Generation 14plus International Jury in 2014, Bas Devos’s feature debut Violet didn’t reach American shores, beyond a handful of festivals, until new distributor Altered Innocence took a chance and set a theatrical date and announced a subsequent physical release. Saved from being forgotten, the film is one of the most striking and pure cinematic works to arrive stateside this year, and exemplifies the importance of betting on unorthodox voices that aim to challenge the medium’s formal conventions. Shot in the 4:3 aspect ratio […]
by Carlos Aguilar on May 19, 2017
