Bloody Nose Empty Pockets
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The Long Goodbye
As filmmakers who love the word “serendipity” and pursue situations that allow them the freedom to respond to it, Bill and Turner Ross finally found the window to make Bloody Nose, Empty Pockets—fittingly enough—thanks to a strike of serendipitous scheduling. A delay in the production of friend Benh Zeitlin’s Wendy, for which the Ross brothers had planned a making-of documentary (the excellent, as-of-now unreleasable Second Star to the Right and Straight on ’Til Morning), finally gave them the chance to make Bloody Nose—a film full of images that had long gestated in their individual, albeit synergistic, brains. Such serendipity permeated […]
by Daniel Christian on Jul 7, 2020 -
Going Virtual in the Pandemic Age: CPH:DOX 2020, The Digital Edition
Hard to believe just a few weeks back I was eagerly preparing for my annual pilgrimage to Copenhagen to begin the spring doc fest season. Well, we all know how that turned out. Or not. As a deadly virus forced festivals the world over to cancel, CPH:DOX, long a champion of outside-the-box filmmaking, counterintuitively decided the show must go on. Rather than cut losses and hunker down in social isolation, festival director Tine Fischer and her scrappy team did the exact opposite, reaching out online to actually expand the CPH:DOX audience on a global scale. Picking up and relocating to […]
by Lauren Wissot on Apr 4, 2020 -
“It Ended Up Being the Toughest Edit of My Life”: Director/Editor Bill Ross on Bloody Nose, Empty Pockets
Documentary filmmakers Bill and Turner Ross depict a mosaic of fleeting American dreams and the resilience of community in Bloody Nose, Empty Pockets. The film centers on a nearly defunct bar outside of Last Vegas, The Roaring 20s, as its patrons grappling with the uncertainty of a future without their beloved dive bar. The subjects often teeter between dismay and debauchery, offering glances into masculinity, vice and a culture of anxiety. Director and editor Bill Ross explains the nuances of editing a film to make an audience feel present, grappling with one’s own internalized imperfections and why this film was […]
by Filmmaker Staff on Jan 30, 2020 -
“We Wanted the Film to Feel Lived in, Gritty, Real”: Directors/Cinematographers Bill and Turner Ross on Bloody Nose, Empty Pockets
In The Ross Brothers’ Bloody Nose, Empty Pockets, a dive bar on the outskirts of Las Vegas, The Roaring 20s, is on its last leg. Its long-time patrons are devastated by the prospect of losing the watering hole that has been a sort of refuge for them over the years—they could hide from their disappointments, inadequacies and reality under the dim lights. Bill and Turner Ross briefly describe what went into shooting the documentary. 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 […]
by Filmmaker Staff on Jan 27, 2020 -
Sundance 2020 Dispatch 1: Bloody Nose, Empty Pockets; Epicentro; Olla
There will be time and occasion, I’m sure, during this year’s Sundance Film Festival to go big picture: to attempt to take the temperature of independent film in 2020, once again fuss over what that designation could possibly mean at this point and so on. But let’s skip that for now: for this year’s first dispatch, I have the rare of pleasure of leading with enthusiasm, and I’d like to lean into that. Barflies mistranslate William Blake’s exhortation to see the world in a grain of sand as “study the human condition through endless hours sitting at the bar”—if in […]
by Vadim Rizov on Jan 24, 2020
