Sundance Film Festival
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“I’m a Massive Expert on Horses”: Editor Jamie Pearson on Dream Horse
Welsh director Euros Lyn adapts a true story about one woman’s determination to prove people wrong in Dream Horse, starring Toni Collette as Jan, a waitress who suddenly takes up the challenge of breeding a racehorse, with both skeptics and supporters by her side. Sure enough, Dream Alliance, the horse and the syndicate, become horse racing champions. Editor Jamie Pearson explains how he came up in the industry, how the narrative for Dream Horse was shaped and also divulges a few spoilers. “ Filmmaker: How and why did you wind up being the editor of your film? What were the […]
by Filmmaker Staff on Jan 25, 2020 -
“Time Is Always the Biggest Challenge”: DP Zach Kuperstein on The Climb
In Michael Covino’s The Climb, best friends Kyle (Kyle Marvin) and Mike (Michael Covino) embark on a bike ride in the south of France to celebrate Kyle’s impending marriage to a French woman. In the process, Mike admits to having slept with Kyle’s fiancée, causing an understandable riff in their friendship. Presented as one long take, DP Zach Kuperstein divulges the intricacies of the unorthodox process of filming The Climb. 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? Kuperstein: […]
by Filmmaker Staff on Jan 24, 2020 -
“The More Real We Could Make the Film, the More Unsettling It Would Feel”: Editor Benjamin Moses Smith on Spree
In Eugene Kotlyrenko’s Spree, a rideshare driver, Kurt (Joe Keery), dreams of social media fame—but he’ll settle for notoriety. He decks his car out with eight cameras and livestreams something called #TheLesson, which quickly results in carnage. Editor Benjamin Moses Smith talks about the editing of a “live stream” movie, the sensitive material integral to the film and his impending title as “the best “8 cameras mounted inside of a car editor in the world.” 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 Jan 24, 2020 -
“The Art Department Came Up to Me and Said ‘We’re Running Low on Ice Cream, Your Grandfather Is Eating It Too Fast'”: Michael Covino | The Climb
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? We decided to begin a scene with a shot of two old men sitting on a bench eating ice cream cones. One of them was my 90 year old grandfather, who took one screenwriting course in the 1940s, which he felt entitled him to give me lots of notes, sometimes in […]
by Filmmaker Staff on Jan 24, 2020 -
“I Wanted to Fight for the Pictures”: DP Jake Swantko on The Dissident
The global controversy—and subsequent cover-up—surrounding the murder of Saudi journalist Jamal Khashoggi is the subject of Bryan Fogel’s documentary The Dissident. After the news broke about Khashoggi’s murder, Fogel reached out to DP Jake Swantko, and the two immediately began collaborating on the documentary, traveling to interview Khashoggi’s fianceé, close friend and insurgent Omar Abdulaziz and others. Swantko shares his experience with the often dangerous aspects of making a documentary about a highly politicized figure. 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 […]
by Filmmaker Staff on Jan 24, 2020 -
“Omission Is a Powerful Storytelling Tool”: Editor Sara Shaw on The Climb
Two best friends embark on an extensive bike ride in the south of France—one of the friends, Kyle (Kyle Marvin) is getting married to a French woman, and his best friend Mike (Michael Covino) is working up the guts to tell his friend he’s slept with the bride-to-be. Presented as one continual long shot, The Climb (also directed by Michael Covino) examines this codependent friendship in what appears to be real-time. Editor Sara Shaw takes Filmmaker through the challenges of editing continuous shots, figuring out the trajectory of a narrative and the power of what isn’t shown. Filmmaker: How and why […]
by Filmmaker Staff on Jan 24, 2020 -
“Editing Is a Process of Trial and Error and Personal Instincts”: Editor Jeff Gilbert on Boys State
Documentary filmmakers Jesse Moss and Amanda McBaine look to 1,000 17-year-old boys from across the state of Texas in order to examine the state of American democracy in Boys State. The film follows a cohort of teenagers tasked with building a representative government from the ground up, each boy vying for the top title at the Texas Boys State competition—governor. What seems almost too akin to Lord of the Flies to result in anything similar to a functioning government actually perfectly reflects the current state of American politics. Editor Jeff Gilbert shares his insight on what made the film so […]
by Filmmaker Staff on Jan 24, 2020 -
“The One Million Dollar Winning Game Piece From the Monopoly Game at McDonald’s”: James Lee Hernandez and Brian Lazarte | McMillion$
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The key prop for this project also happens to be the root source of the story. It was sought by most Americans during the 1990s, it caused a major corporation’s sales to increase by 30% to 40% and it helped spawn a decade-long fraud which ended in 53 people being indicted. […]
by Filmmaker Staff on Jan 24, 2020 -
“The Mystic, Magical Vibes of His Home”: Cristina Costantini and Kareem Tabsch | Mucho Mucho Amor
Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? Driving into the gated community in the San Juan, Puerto Rico suburbs where Walter Mercado lived, you hardly needed an address to find his house. The two-story Moroccan villa painted yellow with blue trim couldn’t help but stand out among the 1950’s tract homes that surrounded. With so much pizazz and […]
by Filmmaker Staff on Jan 24, 2020 -
“I Cried Many Times Watching Clare Dunne’s Powerful Performances”: Editor Rebecca Lloyd on Herself
In Phyllida Lloyd’s Herself, single mother Sandra (Clare Dunne) struggles to support and accommodate her two daughters in Dublin after leaving her abusive husband. Realizing that the system in place is not designed to provide any meaningful support, Sandra reaches the conclusion that she is the only one who is able (and willing) to affect any real change in her own life. She decides to build a house—literally from the ground up—in order to ensure that she and her daughters have stability and security in the future. Editor Rebecca Lloyd shares insight into her roots as an editor, what it […]
by Filmmaker Staff on Jan 24, 2020
