2010 began with hope, as I wrapped a small indie that looked like it might have legs. But the film soon faded into obscurity and hope faded with it. Two more efforts received little attention, and my heartache grew. But optimism sprung up again in 2015 when I collaborated with indie veteran, Mike S. Ryan, and the first film we made together got into Toronto. It felt like things were turning a corner. With barely a breath, we jumped into another. And for a moment, I saw through rose-colored glasses. Sadly, however, like with most small films, they too faded […]

One of the great joys of directing a film is to work with actors, and when you make an ensemble film, you get to work with a lot of actors! But working with any big group of people — especially actors! — can come with a host of unique challenges. So, whether you’re making a blockbuster like the Russo Brother’s recent uber-ensemble Avengers: Infinity Wars or you’re making a web series in your back yard with all your high school drama class friends, many of the lessons are the same. My current film, Bernard and Huey may sound like a […]

I’ve written elsewhere about my admiration for the filmmaking on NCIS: New Orleans, a procedural that channels the spirit of Rio Bravo-era Howard Hawks to combine laid-back charm and camaraderie with kinetic, expertly choreographed action sequences. Under the guidance of producing director James Hayman, whose “Aftershocks” episode from season three is a clinic in Hitchcockian suspense, NCIS: New Orleans has assembled one of the best rotating companies of directors in episodic television: James Whitmore, Jr., Stacey K. Black, Rob Greenlea, and Bethany Rooney are just some of the superb helmers who have done fine work on the series over the […]

With Twilight in 2008, Catherine Hardwicke became the first female director to launch a successful blockbuster movie franchise (the film grossed $400 million worldwide). But rather than direct the sequel films in the blockbuster series, Hardwicke opted to take on more daring fare, such as Red Riding Hood, a dark re-telling of the fairy tale. But when that 2011 film was both a critical and financial disappointment, Hardwicke found she was no longer a hot commodity in Hollywood. Unlike male directors who are allowed a flop or two, female filmmakers are held to a higher standard, she quickly found. Instead of vying for the next superhero […]

I had a dream the other night, and all my filmmaking heroes were there. Young, full of vision, light in their eyes. A party at a swanky bar. Then last call was called. And the lights came up. And Orson Welles was drunk, huge, exhausted. And Nicholas Ray, with an eye patch, was chain smoking. And Hal Ashby was haggard, mumbling to himself in the corner about someone taking away his final cut. The horror stories of my heroes haunt me. What is it that happened to them? Did they bring it on themselves with youthful hubris and defiance? Were […]

Meaning. The craving for meaning. Art and its ability to create experiences of meaning. Whether they seem all too prosaic or winsomely sincere, these words nevertheless constitute the unabashed core of an intensive, 17-session filmmaking lab series housed in a large, high-ceilinged studio in Hollywood and led by an impassioned woman named Joan Scheckel. In practical terms, the lab sessions are dedicated to helping filmmakers clarify their vision, hone their craft and develop a functional set of tools for the production process, which is all well and good. But what makes the lab sessions extraordinary is Scheckel herself. Over the […]

Usually the term “a cast of hundreds” isn’t applied to a film with just two characters. But that’s exactly how to describe Matt Herron’s new feature Audition, an innovative film in which 100 actors — 50 men, 50 women — portray one couple over the course of a torrid romance. The concept is for this narrative story to be told through the documentary process of different actors interpreting the fictional roles (or, conversely, it could be seen as a documentary about acting that conveys a narrative storyline): the original 100 actors are winnowed down as the film progresses until the […]

One of the biggest conundrums I’ve experienced as a female filmmaker is watching the women of television advance so much farther than their counterparts in film. Why is there such a great disparity? Take for example this year’s Emmy nominations list. Looking only at nominations for directing, women have the opportunity take a number of prizes home: For Outstanding Directing For A Drama Series Breaking Bad. Episode: Gliding Over All. Directed by Michelle MacLaren. Homeland. Episode: Q&A. Directed by Lesli Linka Glatter. For Outstanding Directing For A Comedy Series Girls. Episode: On All Fours. Directed by Lena Dunham. Modern Family. […]

“What do you think?” asks an inquisitive Pedro Almodóvar, his voice hoarse from constant interviews and his white hair characteristically untamed, like he’s the Don King of foreign film. His question is in response to my own, about why he’s fascinated with sex between partners wherein one of them is asleep, a phenomenon seen in Bad Education and the director’s libidinous, screwball latest, I’m So Excited. It’s at once jarring, thrilling, and humbling to have Almodóvar request your thoughts on his creative motives. Perhaps I should have asked him something else, something less tied to the many interpretations he himself […]

Imagine that you grow up to be a successful filmmaker? Cool, huh? Now imagine that you get to wake up (or continue the previous day’s all-nighter) and go to work with some of your best friends. Even better. Throw in the fact that you are good buddies with the lead singer of one of your favorite bands — who also happens to play your boss on your acclaimed sitcom — intergalactic, Hollywood-star-slaughtering monster/Gwar frontman Oderus Urungus plays your imaginary friend, you have become peers and collaborators with childhood idols and inspirations ranging from Chris Columbus (screenwriter of The Goonies and Gremlins)  and […]