6576 Results for “production”
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John Wilson
John Wilson worked as a private investigator in Boston for a year right after graduating from film school in 2008. “That was more of an education than anything else prior to that,” Wilson asserts. “I spent a lot of time watching and observing people without any barriers, and also without them knowing.” Inspired by his previous occupation, he started shooting in a style that he calls documentary memoir, capturing lo-fi quotidian images of people and places mediated by his distinct narration style. Growing up in Long Island, Wilson’s interest in film began as a teenager when his dad got a […]
by Vadim Rizov on Jul 25, 2016 -
Amman Abbasi
Amman Abbasi’s parents are Pakistani immigrants who moved around Arkansas when he was growing up, and the director is still based in Little Rock. Dayveon, his feature debut (a 2016 IFP Narrative Lab selection currently in post), tells a familiar story in a new location: still troubled by the death of his brother, a 12-year-old boy in rural Arkansas falls in with a gang. What makes Dayveon distinctive is both its under-depicted setting and the strong visual choices Abbasi makes in collaboration with DP Dustin Lane: shot in controlled handheld 4:3 with lush colors and a strong sense of immersive […]
by Vadim Rizov on Jul 25, 2016 -
Shawn Peters
Having worked as cinematographer for visionary director Terence Nance — among other works, he lensed Nance’s lovesick, doc/fiction whatsit An Oversimplification of her Beauty and his more recent, gorgeously inscrutable Swimming in Your Skin Again — Shawn Peters is no stranger to lateral thinking. So, perhaps it’s appropriate then that his first major personal work, due out this fall, isn’t so easily categorizable either. The Art of Dying Young combines film and technology, documentary and hybrid elements and, skipping across decades, locations both physical and virtual. Using both augmented and virtual reality, The Art of Dying Young, which Peters is making […]
by Vadim Rizov on Jul 25, 2016 -
Out of Great Silence
Philippe Garrel’s Le Révélateur unfolds in obstinate silence. Shot duration is prolonged beyond the point of narrative or reason, and the narrative is oblique in the extreme. There’s a man, a woman and a child in various configurations: in a house, running through fields, separated and together. In extended tracking shots, the woman runs through a dark forest, illuminated by a relentless light that isolates her in high contrast, as if she were fleeing a prison-yard. The thrust of what’s being seen is unclear, and the silence grows oddly confrontational. Now the hour-long 1968 film has a score. Written and […]
by Vadim Rizov on Jul 25, 2016 -
T.W. Pittman and Kelly Daniela Norris
T.W. Pittman and Kelly Daniela Norris met at Columbia as the only two freshmen in their “Intro to Film” class, but didn’t start hanging out until senior year. They bonded over their shared taste in movies: Akira Kurosawa, Claire Denis and especially Chris Marker were common favorites. (“I could probably count the number of films we’ve significantly disagreed on one hand,” says Pittman.) They’ve known each other well for 10 years and started their production company Rasquaché Film Productions in 2009 in New York City. Rasquaché is an (initially pejorative) Mexican term for, per Norris, “great art made from nothing,” […]
by Vadim Rizov on Jul 25, 2016 -
It’s Not Always About the Money
There’s been a great deal of talk recently in our film community about the concept of sustainability. There hasn’t, however, been a great deal of precision. Take the word itself — “sustainable.” It’s most often defined by its absence. But by the time we ask, “What is a sustainable career?” the answer comes back, and it’s usually simply: “Not this.” We’ve adopted the idea of sustainability from the environmental movement, where it describes the quest to make an ecosystem stable and long-lasting. Sustainability’s myriad definitions range from the utopian (“all systems in dynamic balance”) to the terse, harsh pragmatism of its Latin root, […]
by Esther B. Robinson on Jul 25, 2016 -
Fukushima Story
Just days after the March 2011 tsunami off the Japanese coast, Brooklyn-based photojournalist and documentarian Jake Price found his way to the Tōhoku region of northern Japan, the area hardest hit by the devastation. He stayed for months, living with Japan’s internal refugees and carefully chronicling their lives as they sought to come to terms with the disaster and rebuild. The result, Unknown Spring (2013), is an online interactive documentary that testifies to its subjects’ resilience and humanity in the face of unspeakable odds. But Price, who has had photography assignments across the globe, is no “parachute journalist.” Even before […]
by Randy Astle on Jul 25, 2016 -
Dispatches from Cannes 2016 and Olhar de Cinema
Cannes 2016 By Blake Williams Sometime around the fourth week of April — after word got out that Cannes festival director Thierry Frémaux had rejected Bertrand Bonello’s highly anticipated new film, Nocturama, in which a gang of young radicals plant bombs all over Paris (a film that was definitely finished and was definitely submitted to and seen by the selection committee); after various news outlets began circulating footage of the Cannes municipal police force’s elaborate terror drills at the Palais des Festivals, with faux wounded tourists writhing in agony on the pavement, simulated car bombs, coordinated police raids and all; […]
by Filmmaker Staff on Jul 25, 2016 -
The Big Transition: How to Break into TV Writing, Part One
Maybe you’ve had some success writing features. You’ve sold a spec, landed an assignment, made the Black List or wrote and directed your own indie feature. Maybe you’re a playwright, or you’ve got a web series, or you’ve made a few shorts, or even written a few good features. Or maybe you’re simply an emerging writer working toward that first sale or produced credit. No matter — in today’s film business, you can be any one of the above and still be thinking about one thing: moving into television. If you’re thinking about trying a TV staffing job, or even […]
by Marc Maurino on Jul 25, 2016 -
In Dark Trees: David Lowery on Pete’s Dragon
David Lowery has directed love stories about siblings, spouses, parents and children, so it follows logically that his next film would be a love story between an orphan and his dragon. Pete’s Dragon, Lowery’s nominal remake of the 1977 Disney film, lives in a tender, magical world that exists outside of time, in the wilderness of childhood imagination. The wonder, lack of cynicism and strong imagery of the natural world evoke cinema of the late ’70s and early ’80s; The Black Stallion and E.T. come to mind. Lowery seems fascinated by the stories we tell ourselves, the tall tales, the […]
by James Ponsoldt on Jul 25, 2016
