Sundance Film Festival
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Filming in the Golf Cart Capital of the World: Jocelyn DeBoer and Dawn Luebbe on Greener Grass
The cinematic equivalent of the popular improv exercise “Yes, and…,” Jocelyn DeBoer and Dawn Luebbe’s feature directorial debut, Greener Grass, opens on an extreme instance of absurdity and gobsmackingly builds from there. In picturesque suburbia, competition runs thick amongst cutthroat nuclear families, neighborhood pool parties are all the rage and mom and dad travel to and from soccer practice via the tacky family golf cart. Co-starring the film’s directors as housewives who develop a grating rivalry, the film opens with Jill (DeBoer) giving up custody of her baby daughter to Lisa (Luebbe). Why does Jill do this? Because Lisa expresses interest […]
by Erik Luers on Oct 23, 2019 -
Sundance Film Festival 2019: Midnight Traveler, Midnight Family
Let’s talk about empathy and documentary for a moment. A few years ago, during a slack midday period, a pair of young men made me an offer: $10 for 20 minutes of my time. This seemed fair, so I entered a small room and put on my very first VR helmet. For four and a half minutes, I watched a 360 short about the refugee crisis. There was a camp, and I could swivel around in my chair to see all of its dimensions while sad music played over onscreen statics; at the end, I think there was a URL […]
by Vadim Rizov on Feb 6, 2019 -
“The Biggest Goal is to Keep the Story Visually Interesting”: DP Tarin Anderson on Corporate Animals
Corporate Animals gives Demi Moore a rare chance to show her comic skills. As Lucy, the awful CEO of a new company, Incredible Edibles, Moore orders her employees on a team-building exercise/retreat via a New Mexico cave. When the workers are trapped, it’s only a matter of time before they becomes the Incredible Edibles. Via email, DP Tarin Anderson addressed the challenges of making a film tracking eight characters in a closed setting. 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? […]
by Filmmaker Staff on Feb 5, 2019 -
“The Feedback Screenings were Essential”: Editor Colin Campbell on The Hole in the Ground
The feature directorial debut from Irish filmmaker Lee Cronin, The Hole in the Ground follows the ominous goings-on after a couple and their young child move to a new cottage in rural Ireland (where their neighbors include Aki Kaurismäki regular Kati Outinen). Next to the cottage is the titular hole in the ground, and that causes all kinds of problems as their child is possibly possessed. Via email, editor Colin Campbell discussed his latest collaboration with longtime friend Lee Cronin. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to […]
by Filmmaker Staff on Feb 5, 2019 -
“Treat the Material Like a Thriller”: Editor Andrea Lewis on Where’s My Roy Cohn?
Acquired by Sony Pictures Classics after its premiere at Sundance, Matt Tyrnauer’s Where’s My Roy Cohn? reexamines the life and legacy of lawyer/fixer/conservative power broker Roy Cohn. Taking its title from a quote from President Donald J. Trump, Tyrnauer’s documentary draws a line from Cohn to the present. Via email, his regular editor Andrea Lewis discussed her work on the film. 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? Lewis: I have worked with director Matt Tyrnauer and producer Corey Reeser on […]
by Filmmaker Staff on Feb 4, 2019 -
“Twelve Hours Later and a Few Glasses of Wine to the Good and the Sequence was Finished”: Untouchable Editor Andy Worboys
The first Harvey Weinstein documentary post-Weinsteingate, Ursula Macfarlane’s Untouchable examines the mogul’s fall through the fresh testimony of many of those he assaulted. Intended first and foremost as a work of journalism, Macfarlane’s film was edited by Andy Worboys, fresh off his work on the TV documentary Hillsborough, a re-examination of the death of 96 people during a 1989 soccer match. Via email, Worboys discussed his work preserving the testimonies of those who spoke on camera for Untouchable. 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 […]
by Filmmaker Staff on Feb 4, 2019 -
DP Jomo Fray on Selah and the Spades and Drawing Inspiration From Rihanna’s ANTI
Tayarisha Poe is a former 25 New Face of Film; her feature debut, Selah and the Spades, teams her with another New Face, cinematographer Jomo Fray. The titular Selah (Lovie Simone) attends a prep school where, with ferocious discipline, she manages her gang, the Spades. Via email, Fray discussed his long-in-the-making collaboration with Poe. 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? Fray: The director, Tayarisha Poe, and I met a few years ago about the project and pretty quickly became totally […]
by Filmmaker Staff on Feb 4, 2019 -
“The Very Opening is Always the Hardest to Cut “: Editors Elisa Bonora and Veronica Pinkham on David Crosby: Remember My Name
Legendary musician (and salty Twitter presence) David Crosby hits the tour road again in David Crosby: Remember My Name, an intimate biographical portrait by A.J. Eaton. The film, which premiered at Sundance, had two editors. Via email, both Elisa Bonora and Veronica Pinkham shared their perspectives on working on this film. 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? Bonora: In 2013 I edited, and was nominated for an ACE for, a documentary film called Glen Campbell: I’ll Be Me. The director, […]
by Filmmaker Staff on Feb 4, 2019 -
“Sometimes the Craziest Feedback Leads to Some Really Great Ideas in the Editing Room”: Editor Eleanor Infante on Late Night
One of the biggest acquisitions at this year’s Sundance, Nisha Ganatra’s Late Night tracks Molly (Mindy Kaling, who wrote the screenplay), a new staff writer on a long-running late night show hosted by Katherine Newbury (Emma Thompson). The film was purchased by Amazon for $13 million. Via email, its editor, Eleanor Infante, spoke to her work on the film, the latest in a long collaboration with director Ganatra. 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? Infante: Nisha Ganatra and I first […]
by Filmmaker Staff on Feb 4, 2019 -
“As Long As I Make the Story Clear and Not Noring, Then I’m Good”: Editor Zimo Huang on The Tomorrow Man
A music video director and David Fincher protege, Noble Jones makes his feature filmmaking debut with The Tomorrow Man. John Lithgow anchors the film as Ed Hemsler, a divorced retiree with a penchant for grandiose if vague conspiracy theories about the imminent end of the world. His unexpected romance with Ronnie Meisner (Blythe Danner) begins at a grocery store, but their path is full of unexpected bumps. Via email, editor Zimo Huang discussed his work on the production. 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 4, 2019
