Sundance Film Festival
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“The Camera Lens Was Almost Touching the Puppet’s Face”: DP Joe Passarelli on Anomalisa
Joe Passarelli has spent the last decade serving as a cinematographer and electrician on more than 30 shorts, features and TV series. In 2015, he had his breakout film with Anomalisa, the long-awaited stop-motion feature written and co-directed by Charlie Kaufman. Below, Passarelli speaks with Filmmaker about the film’s singular visual design, which seeks to capture the mood of its troubled protagonist Michael Stone. This interview was conducted in conjunction with “Behind the Scenes of Anomalisa,” a panel at the 2016 Sundance Film Festival. 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 28, 2016 -
“No Secret Is Without Complications”: Director Jon Shenk | Audrie & Daisy
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? Audrie & Daisy tells the story of two teenage girls who went to parties, drank alcohol, passed […]
by Soheil Rezayazdi on Jan 28, 2016 -
Sundance Dispatch 4: Certain Women, Love & Friendship and Indignation
Even by Kelly Reichardt’s disciplined standards, Certain Women brings the rigor. Opening credits are laid over a overhead static shot of a train making its way from the frame’s upper right corner to the bottom left; not quite James Benning’s RR, but that gives some idea of Reichardt’s patience. The “certain women” of Montana have their stories told in three basically discrete segments (there are overlapping characters between each, but no greater cohesion as far as I could tell at first pass). Lawyer Laura (Laura Dern) represents an injured construction worker; unable to get the settlement he deserves, he takes a hostage for leverage. Laura’s sleeping with Ryan Lewis […]
by Vadim Rizov on Jan 28, 2016 -
DP Mackenzie Mathis on Slamdance World Premiere Chemical Cut
A cinematographer on nearly a dozen shorts since 2008, Mackenzie Mathis makes his debut as a feature film DP with Chemical Cut. The film, written and directed by America’s Next Top Model contestant Marjorie Conrad, held its world premiere at Slamdance 2016. In this interview, Mathis discusses his influences and technique as a DP. 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? Mathis: I was introduced to Marjorie Conrad through our producer Barret Hacia, for whom I’d shot a short film some years back. Marjorie […]
by Soheil Rezayazdi on Jan 28, 2016 -
“Like Illustrations from a Children’s Book”: DP Kuba Kijowski on Sundance Entry The Lure
Jakub “Kuba” Kijowski has served as cinematographer on two feature-length films: 2013’s Floating Skyscrapers and The Lure, aWorld Cinema Dramatic Competition selection at Sundance 2016. Kijowski has also acted as a camera operator on a number of short films, including the Oscar-nominated In Darkness. Below, he discusses the fairy tale and musical-like aesthetic he sought to achieve for Agnieszka Smoczynska’s The Lure. 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? Kijowski: I actually didn’t know the director, Agnieszka Smoczynska very well. We […]
by Soheil Rezayazdi on Jan 28, 2016 -
“Rough and Spontaneous”: DP Eric Yue on the Wyatt Cenac-Starring Jacqueline (Argentine)
Jacqueline (Argentine) marks the debut feature film from both director Bernardo Britto and DP Eric Yue. Starring former Daily Show correspondent Wyatt Cenac, the film unfolds as an playful blend of mockumentary and political thriller. Below, Filmmaker speaks with Yue about what he calls the film’s “documentary/stylized” aesthetic. The film premiered in the NEXT program at the 2016 Sundance Film Festival. 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? Yue: I was approached by Bernardo and the producers who are friends of mine from college. […]
by Soheil Rezayazdi on Jan 28, 2016 -
Video Artist Kalup Linzy on His Sundance Installation Queen Rose Family (da Stories)
Video and performance artist Kalup Linzy returns to Sundance in 2016 with Queen Rose Family (da Stories), an installation within the New Frontier program of the festival. The exhibit features prominent musicians such as Michael Stipe and Tunde Adebimpe of TV on the Radio and was was shot, directed, edited and scored by Linzy himself. Hailing from New York, Linzy has had pieces at The Met, The MoMA and The Whitney, among other museums. In this interview for Queen Rose Family (da Stories), Linzy talks shop about how he captured the distinctly campy aesthetic of his latest installation. Filmmaker: How and why did you wind up being […]
by Soheil Rezayazdi on Jan 27, 2016 -
“Time Is Not Your Friend”: Director Matt Ross | Captain Fantastic
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? The secret story of Captain Fantastic is that – on paper – it looked deceptively simple. Everyone […]
by Soheil Rezayazdi on Jan 27, 2016 -
“It Is in Huge Part My Own Story”: Director Agnieszka Smoczynska | The Lure
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? I think my biggest fear was to tell this coming-of-age story without being overly personal about it. […]
by Soheil Rezayazdi on Jan 27, 2016 -
“He Was a Chameleon”: Director Aaron Brookner | Uncle Howard
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? I was aware that my uncle Howard [Brooker, director of Burroughs the Movie, 1983] had many secrets […]
by Soheil Rezayazdi on Jan 27, 2016
