Sundance Film Festival 2018
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“We Lost Hours from Our Shoot Day and Gained Years of Wisdom”: Director Josephine Decker | Madeline’s Madeline
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? Red. Blue. Green. Swim. Bathroom. Crying. Lifting. Exalted dance. Small inside. Melting personality. Melting fatigue. All night cigarette dance party. Fall asleep on the floor of the set. Messy reality. Inner turmoil. Beasts but good ones. Mask. Another mask. Masking tape on the mask. Tragedy but holding tragedy. A big hand holding it all together. Fond […]
by Filmmaker Staff on Jan 26, 2018 -
“I Interviewed and Emphasized My Desire for the Film to be ‘Female Gaze-y'”: Editor Catherine Haight on Puzzle
Catherine Haight worked as an assistant editor for a decade before she landed the gig to edit the pilot episode of HBO’s Girls. From there, she went on to edit for several prominent half-hour TV series, including New Girl, Mozart in the Jungle and Transparent. Haight worked as the editor on Puzzle, the new film from director Marc Turtletaub (producer of Little Miss Sunshine and Safety Not Guaranteed) and writer Oren Moverman (Love & Mercy). The film tells the story of a suburban housewife (Kelly Macdonald) who discovers a passion for puzzle-solving competitions. Below, Haight speaks with Filmmaker about the influence of Jill […]
by Filmmaker Staff on Jan 25, 2018 -
“We Were Using Dolly, Crane and Steadicam Under Real and Artificial Rain”: DP Federico Cesca on Dead Pigs
Dead Pigs marks the feature film debut from writer/director Cathy Yan. Born in China with an MFA from NYU’s Tisch, Yan directed three shorts (According to My Mother, Down River, Last Night) prior to her first feature. She hired Federico Cesca, a fellow Tisch alum and the DP on last year’s Patti Cake$, to shoot Dead Pigs in Shanghai. Cesca spoke with Filmmaker ahead of Dead Pigs‘ premiere at Sundance about the challenges and rewards of shooting this project. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to […]
by Soheil Rezayazdi on Jan 25, 2018 -
“As Irreverent as the Subject Herself”: Editor Paul Carlin on Westwood: Punk, Icon, Activist
Premiering in the World Cinema Documentary Competition at Sundance, Westwood: Punk, Icon, Activist chronicles the life of 76-year-old fashion designer Dame Vivienne Westwood. The film is the first documentary feature from UK-based filmmaker Lorna Tucker. Tucker hired doc and fiction editor Paul Carlin to cut the film. Below, Carlin discusses how the project took shape, his fondness for Walter Murch and capturing Westwood’s essence “from punk to haute couture.” Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Carlin: I think it was […]
by Filmmaker Staff on Jan 25, 2018 -
“Stories Make Order and Help Us Understand the Awful Noise”: Director Robert Greene | Bisbee ’17
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? The relationship between chaos and order is at the heart of all documentaries, especially films like ours that play with genre, performance and narrative. This means that we kind of need to do two kinds of films at once. It’s hard to make a good documentary and hard to make a good fiction film – but […]
by Filmmaker Staff on Jan 25, 2018 -
“Like Most Things, We Got There After a Lot of Trial and Error”: Editor Patrick Colman on Hearts Beat Loud
In 2017, Patrick Colman edited the music video for “Holding On” by the indie rock maestros The War on Drugs. Brett Haley, the writer/director behind the 2017 Sundance hit The Hero, directed the clip. The director and editor reunite on Hearts Beat Loud, a family drama starring Nick Offerman, Kiersey Clemons and Ted Danson. Colman previously edited Sundance titles Other People (2016) and Hits (2014). Below, he shares his thoughts on cutting the music-driven Hearts Beat Loud. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this […]
by Filmmaker Staff on Jan 25, 2018 -
“This Beautiful and Wild Community that Exists in Film”: Director Jordana Spiro | Night Comes On
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? The beautiful thing about chaos in film for me is the reminder of how much of a team sport it is. Right now, I am thinking of a particular moment in our shoot. There is a main sequence in the film that takes place in one house. As a kind of a road trip film, we […]
by Filmmaker Staff on Jan 25, 2018 -
“The Film Began As an Experimental Skate Video”: Director and DP Bing Liu on Minding the Gap
A camera assistant who has worked on The Girlfriend Experience, Sense8 and Chi-Raq, 24-year-old Bing Liu makes his debut as a feature documentary filmmaker with Minding the Gap. The film was made with the help of production partners Kartemquin Films, ITVS and POV, and it includes an executive producer credit from Steve James. Minding the Gap‘s three leads bond in part over skateboarding, and as such the film includes extensive footage of its leads on their boards. As he discusses below, Bing used a number of different methods to “shoot skateboarding in a way that I hadn’t seen before.” Minding the Gap […]
by Filmmaker Staff on Jan 25, 2018 -
“There’s an Old Saying that Restrictions are Needed to be Truly Creative. That’s Always Sounded like Stockholm Syndrome”: Director Panos Cosmatos | Mandy
As you made your film during the increasingly chaotic backdrop of the last year, how did you as a filmmaker control, ignore, give in to or, conversely, perhaps creatively exploit the wild and unpredictable? What roles did chaos and order play in your films? Thematically speaking, fittingly chaos and control are themes of my first film, Beyond The Black Rainbow, and Mandy. Creatively speaking; there’s an old saying that restrictions are needed to be truly creative. That’s always sounded like a form of Stockholm syndrome to me. I believe that given complete freedom, time and resources many artists would take their respective mediums in undreamed of directions and to incredible new heights. Pragmatically speaking; the […]
by Filmmaker Staff on Jan 25, 2018 -
Sundance 2018 Critic’s Notebook, Day 6: Madeline’s Madeline, Of Fathers and Sons, A Futile and Stupid Gesture, The Price of Everything
Context is everything — I’m writing this final Sundance dispatch at a remove of a day/continent from Park City, back in NYC, with a day’s pause between marathon-writing while reconsidering the chronological melange of what I saw and what, if any, narrative can be extrapolated about this year’s fest. My feeling, overall, is of a weak year, despite having (per usual) missed some of what appear to be the standout titles (Mandy, alas), which framed my response to Madeline’s Madeline, the last film I saw there. Is this a great movie? With a day to think about it, I’m not sure […]
by Vadim Rizov on Jan 25, 2018
