Sundance Film Festival
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“It’s a Balance of Preserving Your Strength”: DP Sean Havey on Homeroom
Homeroom, the final entry in Peter Nicks’ Oakland trilogy, couldn’t have come at a more bizarre time. Amid the early days of the pandemic and movements to defund the police, Oakland High School’s class of 2020 prepares to graduate into an unforgiving world fighting for justice. DP Sean Havey details filming long school board meetings and the intimacy of camerawork. 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 for this job? Havey: I was the associate producer, assistant editor, second camera unit […]
by Filmmaker Staff on Feb 2, 2021 -
“It’s So Fun to Run and Gun”: Editor Daryl Wein on How it Ends
Daryl Wein and Zoe Lister-Jones’ How it Ends takes place on the eve of the Earth’s destruction. Followed by her younger self (Cailee Spaeny), Liza (played by Lister-Jones) tries to make it to a party despite the fact that her car has been stolen. Acting as co-DP (as well as co-editor and co-writer), Wein details the catharsis that came with editing his own film during the pandemic. 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? Wein: I co-edited the film […]
by Filmmaker Staff on Feb 2, 2021 -
“I Wanted to Create a Kind of Subtle, Candy-Coated Pop Aesthetic”: DP Daryl Wein on How it Ends
Daryl Wein and Zoe Lister-Jones’ How it Ends takes place on the eve of the Earth’s destruction. Followed by her younger self (Cailee Spaeny), Liza (played by Lister-Jones) tries to make it to a party despite the fact that her car has been stolen. Acting as co-DP (as well as co-editor and co-writer), Wein shares how he got close to the material as a consequence of the pandemic. 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 for this job? Wein: I chose to […]
by Filmmaker Staff on Feb 2, 2021 -
“Treat the PTSD That Comes from Filming”: Editor Dávid Jancsó on The World to Come
Director Mona Fastvold’s second feature film The World to Come is an adaptation of a Jim Shepard short story of the same name. The film follows Abigail (Katherine Waterston), a well-read 19th century wife living in upstate New York who has grown frustrated with the humdrum of provincial life. She soon begins a love affair with her new neighbor Tallie (Vanessa Kirby). Editor Dávid Jancsó tells us of the film’s meticulous editing style, the influence of Daniel Blumberg’s score on the process, and his prior collaborations with Fastvold. Filmmaker: How and why did you wind up being the editor of your […]
by Filmmaker Staff on Feb 2, 2021 -
“My Understanding of the Central Metaphor Has Deepened”: Editor Sara Shaw on John and the Hole
In Pascual Sisto’s John and the Hole, John (Charlie Shotwell), seemingly unprovoked, drugs his family and tosses them into a bunker where he holds them captive. Written by Birdman co-writer Nicolás Giacobone, John and the Hole is a zoomed in look at the psychology of boyhood. Editor Sara Shaw discusses the parallels between the isolation of the pandemic and the experiences of John and the Hole‘s protagonist. 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? Shaw: I loved the script and was […]
by Filmmaker Staff on Feb 2, 2021 -
“The Message of the Film Continued to Evolve”: Editor Menna El Shishini on Captains of Zaatari
In his feature debut, Captains of Zaatari, Ali El Arabi turns his eye on the teenagers living in the world’s largest Syrian refugee camp. Unafraid to dream despite their bleak surroundings, Fawzi and Mahmoud hope to escape Zaatari and enter the world of professional soccer. El Shishini tells us of his unique perspective as editor and assistant director, and how he crafte a narrative from hundreds of hours of footage. 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? El Shishini: […]
by Filmmaker Staff on Feb 2, 2021 -
“Porn and Sex Work in General is Very Stigmatized”: Editor Amalie Westerlin Tjellesen on Pleasure
Ninja Thyberg’s Pleasure is an unforgiving exploration of the adult entertainment industry in Los Angeles. After arriving to California from Sweden, young Bella Cherry (Sofia Kappel) has many expectations of what working in porn will be like. Pleasure pulls no punches in showing just how brutal of a world it can be. Editor Amalie Westerlin Tjellesen stresses the importance of the film being about the conditions of sex work and less about why women do sex work. 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 […]
by Filmmaker Staff on Feb 2, 2021 -
“The Girls Ride Big Muscular Bikes and Look Tough as Nails”: DP Sam Levy on Mayday
Karen Cinnore’s Mayday is a new kind of action movie, devilishly blurring several genre conventions to produce a feminist war film. After getting swept up in a storm, Ana (Grace Van Patten) is whisked away to another world where she meets Marsha (Mia Goth), the leader of a platoon of female warriors trapped in an endless war. DP Sam Levy tells us of the inclement weather of Croatia and how they filmed Mayday‘s several motorcycle scenes. 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 Feb 2, 2021 -
“Dreams Are Never Bound or Restricted by Austere Conditions”: DP Mahmoud Bashir on Captains of Zaatari
In his feature debut, Captains of Zaatari, Ali El Arabi turns his eye on the teenagers living in the world’s largest Syrian refugee camp. Unafraid to dream despite their bleak surroundings, Fawzi and Mahmoud hope to escape Zaatari and enter the world of professional soccer. DP Mahmoud Bashir discusses becoming friends with the boys at the center of the film and the importance of natural lighting. 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 for this job? Bashir: I did shoot more than […]
by Filmmaker Staff on Feb 2, 2021 -
“Passion Projects That Are Suffering”: Director Mona Fastvold | The World to Come
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? The film’s post-production was affected by the pandemic, and the film was generally difficult to bring to life but considering the human toll this virus has taken on everyone around the world, it’s hard to drum up much of an anecdote… Movies, like small restaurants or shops, around the globe are passion projects that are suffering right now. (Check back daily during the festival — new answers are uploaded on the day of each […]
by Filmmaker Staff on Feb 2, 2021
