Sundance
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“We Were Finding Ways to Make Daylight Beautiful and Intimate”: Editor Bryan Mason on Good Luck to You, Leo Grande
Sophie Hyde’s Good Luck to You, Leo Grande takes place largely in a hotel room, where a retired schoolteacher determined to finally have good sex meets with a sex worker several times over the course of six weeks. Cinematographer Bryan Mason discusses how he varied the film’s style as the two get to know each other and the difficulties associated with shooting a film about sex that takes place largely during the daytime. 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 Jan 22, 2022 -
“The Visual Language of Cinema was Connected to Both Sexual Assault and Employment Discrimination” | Nina Menkes, Brainwashed: Sex-Camera-Power
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? Those people who are familiar with my work know that my films have always come to me from the inside. Images appear before my mind’s eye […]
by Filmmaker Staff on Jan 22, 2022 -
“Everyone Has a Unique Perspective on the World”: DP Shana Hagan on Brainwashed: Sex-Camera-Power
Based on her own cinematic talk, Nina Menkes’ Brainwashed: Sex-Camera-Power uses interviews, footage of her talk, and clips from over 175 films to help illustrate how sexual assault and employment discrimination are inscribed in the visual language of cinema. Below, cinematographer Shana Hagan discusses the challenges in adequately capturing the talk on camera, the importance of color grading, and the joys of working with so many women on set. 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? Hagan: I was introduced […]
by Filmmaker Staff on Jan 22, 2022 -
“This Film Feels Like My Life’s Work Until Now” | Margaret Brown, Descendant
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? From the beginning, the story of the Africatown community did not feel like mine to try to tell. Fascinations with the Old South, and ghosts and […]
by Filmmaker Staff on Jan 22, 2022 -
“Find the Story Only You Can Tell and Make It on the Scale You Can Make It” | Lena Dunham, Sharp Stick
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? In March 2020, I was just a few weeks out from production on my first film in 10 years and my first studio film. When it […]
by Filmmaker Staff on Jan 22, 2022 -
“What’s Exciting About Spending a Lot of Time With Footage Is Always the Patterns That Begin to Emerge”: Editors Geoffrey Richman and Michael Bloch on Descendant
The 2019 discovery of the Clotilda, the last known slave ship to enter the United States, was the impetus for Descendant, but the film is as much about the contemporary residents of Africatown, the community just north of Mobile, Alabama founded by the slaves aboard the Clotilda. The film’s editors explain why they did not want to introduce the discovery of the ship too early, how Zora Neale Thurston helped shape the film, and how seemingly disparate elements gradually formed connections. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes […]
by Filmmaker Staff on Jan 22, 2022 -
“In Every Situation We Were There as Persons—Persons That Happened to Have Cameras With Us”: DPs Love Martinsen & Maria Loohufvud on Calendar Girls
Calendar Girls takes its name from its subject, a Florida dance troupe consisting of women over 60 who perform at animal rescue center benefits, church fundraisers and local parades with unbounded and contagious enthusiasm. Below, Love Martinsen and Maria Loohufvud discuss how their intent in capturing the troupe informed their approach and how they managed to make the film on a shoestring budget. 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? Loohufvid & Martinsen: This film is all about DIY. […]
by Filmmaker Staff on Jan 22, 2022 -
“Comedy Helps People Understand in a Less Aggressive Way”: Editor Lam T. Nguyen on Emergency
In Emergency, a dark comedy by Carey Williams, a pair of Black college students finds a white woman unconscious on their living room floor. Wary of calling the police because of the optics of the situation, they instead recruit the help of a Latino friend to help resolve the situation, unmasking the absurd racial dynamics of contemporary America in the process. Below, editor Lam T. Nguyen discusses finding comedy in the gravely serious and the difference even a few frames can make in helping a punchline land. Filmmaker: How and why did you wind up being the editor of your film? What […]
by Filmmaker Staff on Jan 22, 2022 -
“I Never Say ‘No, We Cannot Do It’ to My Director”: DP Sviatoslav Bulakovskyi on Klondike
In July 2014, during the Donbas War, Malaysia Airlines Flight 17 was shot down over the Donetsk region of Ukraine, a pair of expectant parents living in the disputed Donetsk region of Ukraine by pro-Russian rebels. This is the backdrop for Maryna Er Gorbach’s Klondike, which follows a pair of expectant parents to find their hopes of raising a child in relative piece dashed by the differing loyalties of her brother and his friends. Cinematographer Sviatoslav Bulakovskyi explained how he scouted locations during a COVID lockdown and how his experience taught him to always prepare for the unexpected. Filmmaker: How and […]
by Filmmaker Staff on Jan 21, 2022 -
“We Were Always Searching for the Beauty of Coexistence, Even in the Most Polluted of Places”: DP Ben Bernhard on All That Breathes
With All That Breathes, Shaunak San sought to position humans as a part of the natural world, akin to rather than separate from the birds overhead. The documentary follows a pair of brothers who care for the black kites that fall out of the Delhi skies due to pollution and features cinematography by Ben Bernhard, who has worked extensively with Victor Kossakovsky (Gunda). Below, Bernhard reveals the challenges of tethering images of the natural world to urban living and how he composed shots that place nature and mankind on a level playing field. Filmmaker: How and why did you wind […]
by Filmmaker Staff on Jan 21, 2022
