S. Craig Zahler
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S. Craig Zahler and the Art of the Podcast
“We have a solution to Hollywood’s ‘development hell’ which I am pleased to share with everyone.” This was how Dallas Sonnier, or at least his marketing department, announced the introduction of “the original audiostate,” the neologism Cinestate (Sonnier’s Dallas-based indie production company) coined to avoid the dread word “podcast.” Through marrying the “grandiosity of Hollywood films with the intimacy of audio,” the audiostate is meant to transform that most beloved of objects, the unproduced screenplay, into multi-platform pitchable content. Since Sonnier’s 2017 statement, only one audiostate has been produced: the same year’s The Narrow Caves, a story of eldritch horror, […]
by Brendan Byrne on Mar 4, 2020 -
TIFF Critic’s Notebook 6: Brawl in Cell Block 99, Prototype
S. Craig Zahler’s Brawl in Cell Block 99 replicates the structural mutations of his first film, Bone Tomahawk, at first a realistic Western that expands into a gorefest with inflections of Mad Max. Likewise, Brawl begins as a fairly low-key thriller (minus the part in which Vince Vaughn dismantles nearly half a car with his bare hands) that continuously ratchets up the bloodiness in uncreasingly unreal settings. Zahler’s definitely a gore enthusiast, which isn’t really my thing: it doesn’t particularly bother me, but I’d just as soon not deal with it. But, like Jeremy Saulnier, gore enables what I’ve liked about his work: Tomahawk relished […]
by Vadim Rizov on Sep 13, 2017 -
“If You Move in a Hasty Manner, I’ll Put a Bullet in You”: S. Craig Zahler on Bone Tomahawk
With its careful widescreen compositions and painterly period-motivated lighting, Bone Tomahawk possesses a classical visual style that belies its pulpy genre mash-up logline of western-cum-cannibal horror film. There are no elaborate tracking shots in the feature debut of writer/director S. Craig Zahler. No Steadicam moves, no booming Technocranes, no extreme close-ups. “All of that stuff, to me, is like the director is sitting next to the viewer and saying, ‘Hey now, look at this.’ And I wanted as little of that as possible,” said Zahler. “You see a lot of first-time directors really out to impress the hell out of […]
by Matt Mulcahey on Nov 5, 2015
