6580 Results for “production”
-
The Real and the Poetic: DP Darius Khondji on Bardo
Alejandro G. Iñárritu has labeled Bardo, False Chronicle of a Handful of Truths the most difficult film of his career—a bold categorization, considering the intricate single-take illusion of Birdman and the famously frigid filming conditions of The Revenant, both of which earned Iñárritu Oscars as Best Director. But for Bardo cinematographer Darius Khondji, the lure of the project wasn’t the technical challenges, though they were plentiful (including shooting in Mexico City at the height of COVID with long takes, deep focus photography and surrealistic imagery), but the emotional pull of the material. “Almost every single scene in Bardo was a […]
by Matt Mulcahey on Dec 15, 2022 -
A Wardrobe of Coats: Costume Designer Eimer Ní Mhaoldomhnaigh on The Banshees of Inisherin
Martin McDonagh’s The Banshees of Inisherin brings the writer-director’s signature caustic humor to the story of Colm (Brendan Gleeson, perfectly surly), who abruptly decides to stop talking to his longtime best friend, Pádraic (Colin Farrell, perfectly perplexed), with devastating results for them both. The film is set on a fictional Irish island in 1923, and the combination of wide-open spaces and unfussy but handsome costuming adds visual dynamism to a film whose appeal is largely rooted in whip-smart dialogue. Costume designer Eimer Ní Mhaoldomhnaigh’s filmography includes works by Neil Jordan (Breakfast on Pluto) and Whit Stillman (Love & Friendship), which […]
by Abbey Bender on Dec 15, 2022 -
Two Questions: Producers on Net Profits and Sharing Their Personal Lives
In this new series of articles, Filmmaker poses two questions to producers, directors and other filmmakers. One question is directed toward the nuts and bolts of filmmaking—questions having to do with terms, practices, legal issues, technology and so on. The second question deals with topics that are softer or more amorphous—questions that necessarily can’t have right or wrong answers and whose replies are based on the personalities and practices of the individual participants. This issue, we directed our questions to producers, both fiction and doc, and asked them: What are points, or backend, and how do they work? What’s your […]
by Filmmaker Staff on Dec 15, 2022 -
Editor’s Letter
Welcome to the winter 2023 edition of Filmmaker, the second issue of our 30th anniversary year. It’s our annual awards season issue, in which we cover the Gotham Awards and devote a special section to considering our favorite below-the-line contributions of the year, profiles that reveal a lot about the new processes and technologies that inform filmmaking today. For example, in A. E. Hunt’s profile of Gotham Award-winning Everything Everywhere All at Once’s Paul Rogers, the editor talks about the extensive VFX work in the film, including the use of time-remapping software as well as comping in pictorial elements to […]
by Scott Macaulay on Dec 15, 2022 -
Hit & Misses: The 2022 Releases of Six Recent Sundance Features
In just three (admittedly, very momentous) years, the marketplace for independent films has completely changed. During previous turning points over the decades, executives would use words like “waves” or “cycles” to describe instances of upheaval, but what’s happening now is more like a comprehensive reset. In a recent online article titled “The Sky is Falling, Take Shelter,” producer Rebecca Green wrote, “This year is unlike anything I’ve seen in the 20 years I’ve been working in this business.” If Sundance and its films are a barometer for the independent film industry, consider this comparison: The pre-pandemic class of Sundance 2019 […]
by Anthony Kaufman on Dec 15, 2022 -
Beyond the Third Act: Everest Pipkin’s Cinema-Inspired Tabletop RPG World Ending Game
“Endings are very hard,” said Everest Pipkin. “It’s one of the most difficult things about making anything, and only gets harder when you are collaboratively telling a story with lots of people.” Speaking via video chat from their home in southern New Mexico, Pipkin, an artist and game designer, recently released World Ending Game, a tabletop “falling-action game” designed for players to bring existing campaigns to a close. Say you’re part of a weekly group playing Dungeons & Dragons and everyone is ready to move on. Your party can wrap things up and bring your existing characters — the druid, […]
by Joanne McNeil on Dec 15, 2022 -
Seeing Eye to Eye: Color Correction Styles Across Today’s Film Restorations
Going to the cinema to see a 4K restoration or buying a Blu-ray of a beloved classic from a boutique publisher, one is never quite sure what one will get, colorwise. Frequently, a distinctly tinted veil seems to have fallen over the screen from the first frame. Sometimes, this is a chilling greenish blue, one that bronzes flesh tones and adds a steely, Melvillean atmosphere to the proceedings. On other occasions, it is yellow, as if golden hour had found a way to fall day and night, indoors and out, then curdled from its newfound monotony into a stubborn, pissy […]
by Bingham Bryant on Dec 15, 2022 -
Outsmarting the Disruptors: Greg Mottola Interviews Rian Johnson on Glass Onion: A Knives Out Mystery
In August, Rian Johnson was among the directors with Netflix projects invited to show works that inspired them at the company-owned Paris Theater in New York City. Among the movies Johnson selected were two whose influence is directly perceptible on Glass Onion: A Knives Out Mystery, the first of two sequels to his 2019 hit the writer-director is making for the streamer. From his 1973 favorite The Last of Sheila, Johnson borrows the opening set-up: A dangerously wealthy man invites a group of friends (or are they just parasites?) to join him for a week of elaborate games amidst beautiful […]
by Filmmaker Staff on Dec 15, 2022 -
Daydreaming, Neuroscience and Screenwriting: The Imaginative Teaching of Mary Sweeney
“I have always had a hard time explaining my creative process to people,” says Mary Sweeney, a professor of screenwriting in the John Wells Division of Writing for Screen & Television at the School of Cinematic Arts at the University of Southern California. Sweeney boasts a long list of filmmaking credits but may be best known for her collaborations as a producer, writer and editor with filmmaker David Lynch. In particular, Sweeney edited Lost Highway and Mulholland Drive, two deliriously dreamy films that highlight a form of poetic cinema and a creative process that Sweeney hopes to share with students. […]
by Holly Willis on Dec 15, 2022 -
An Interview With Glass Onion Producer Ram Bergman
In the early 1990s, the playbook for beginning independent producers used to be this: Find a budding auteur, make their first ultra-low-budget film, sell it at a festival, then partner with the director on larger, increasingly successful projects, allowing both careers to grow symbiotically. Independent film does contain such partnerships—Christine Vachon and Todd Haynes is a notable one and, more recently, the producing team of Toby Halbrooks and James M. Johnston and director David Lowery—but countless others fizzle out. Sometimes, the stress of a first feature generates behavior from either party that shuts down any thought of future collaboration. Other […]
by Scott Macaulay on Dec 15, 2022
