Winter 2021
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Technology Tailwinds — Where Are They Taking Us?
The following article was originally published in Filmmaker‘s Winter, 2021 edition. Digital technologies, incessantly lurching forward, are the ground we filmmakers stand on. No wonder we’re often unsteady on our feet. The pandemic has only become an accelerant. Although FaceTime and Skype were around awhile before both became verbs, it took the exigencies of the pandemic to flood our lives with Zoom calling, a digital convenience that has reshaped our relationship to proximity, travel and geography. Just ask Joe Biden. Doesn’t every production meeting now take place on Zoom? Production practices with renewed COVID relevance include use of zooms instead […]
by David Leitner on May 13, 2021 -
Echoes From the Past
In recreating in Mank the experiences from 1930 to 1940 that led screenwriter Herman J. Mankiewicz to write Citizen Kane, David Fincher has said his goal was to make a film that looked and felt of its era. But that fidelity only goes so far: On the visual side, Mank’s black-and-white look is captured in period-anomalous widescreen. Similarly, Mank uses a LCR (left-center-right) sound mix rather than pure mono. “We’re not trying to fool anybody by saying this is a mono mix,” says Fincher’s career-long sound designer Ren Klyce. “The goal was to make the film sound old-fashioned and from […]
by Vadim Rizov on Feb 10, 2021 -
Liberties in the Room
The night after Cassius Clay clobbered Sonny Liston in their first bout at the Miami Beach Convention Center in 1964, the new heavyweight champion, who would later change his name to Muhammad Ali, celebrated his win in a hotel room flush with icons: his friends Malcolm X, Jim Brown and Sam Cooke. They stayed in a room at the Hampton House, a known safe haven for Black people during Jim Crow where social gatherings of various Black icons were not uncommon. Regina King’s feature debut, One Night in Miami, adapted from Kemp Powers’s one-act play of the same name, imagines […]
by A.E. Hunt on Feb 10, 2021 -
The Other Horror in Zombie Movies
The asymmetries of combat in a zombie movie are unlike any other: One must shoot to kill because only one side fights—the other side is merely hungry. The fate of humanity hinges on an efficiently delivered death blow. Characters can outrun the monsters or grab a knife in the kitchen for self-defense. Or, if the movie was made in America, there’s probably a gun. Only one side can handle tools. It is right there on the movie posters in which actors typically appear with their primary weapons. Brad Pitt has an assault rifle on the World War Z (2013) poster, […]
by Joanne McNeil on Feb 10, 2021 -
My Job During a Pandemic: Producing 100+ DVDs and Blu-rays in 2020
When I left Kino Lorber’s office on Friday, March 13th, I was expecting to return on Monday. I was wrapping up the DVD and Blu-ray of Jia Zhangke’s I Wish I Knew (2010), getting final proofs of Adam Nayman’s booklet essay and waiting for the test molds (the final check disc the replicator sends for approval before the title goes into manufacturing) to come in. But then the lockdown hit, and the scramble to improvise and adapt to the situation. One of my colleagues lives nearby our office, so he shipped the I Wish I Knew test molds to our […]
by R. Emmet Sweeney on Feb 10, 2021 -
Sundance Hits and Misses, Pandemic Edition
Yes, 2020 sucked. The worst year of our lives finally came to an end, and most independent films and filmmakers, like just about everything and everyone else, suffered. Grand Jury Prize winners were delayed, critics’ favorites were lost and buzzworthy breakouts, briefly the talk of Park City, remained in limbo, waiting for some nebulous future release date when movie theaters might re-open and vaccinated audiences might attend them. Normally, you could look back at a year’s worth of top Sundance titles, examine what became of them in distribution—as Filmmaker usually does—and glean some takeaways about the state of the marketplace. […]
by Anthony Kaufman on Feb 10, 2021 -
Last Call: Writer/Director Emerald Fennell on Promising Young Woman
“This movie is a tribute to the many genres I love—thrillers, rom-coms, horror,” says writer/director Emerald Fennell about her searing and fiercely confident debut feature, Promising Young Woman. “It’s a dark satire of those genres.” It’s also, says Fennell, a Western of sorts—a continually surprising movie about a woman on a journey of justice. Self-styled vigilante Cassie (Carey Mulligan) is a medical school dropout determined to teach entitled male predators a life lesson, a calling that honors the life of her best friend Nina, victim to a horrific case of sexual assault years earlier. An actor whose credits include The […]
by Tomris Laffly on Feb 10, 2021 -
A Matter of Balance
Kristan Sprague first heard of Shaka King when they were both in high school, long before either entered the film industry. Though they had friends in common, they only got to know each other when they attended Vassar College and started filmmaking in earnest. Since then, Sprague has edited most of King’s work, from his early shorts to his independent debut Newlyweeds, and now their first studio feature, Judas and the Black Messiah. The film follows the real-life story of car thief William O’Neal (Lakeith Stanfield), who was hired by the FBI to infiltrate the Illinois chapter of the Black […]
by Vikram Murthi on Feb 10, 2021 -
Render Time: Director Penny Lane Talks with A Glitch in the Matrix Director Rodney Ascher about His Reality-Questioning Documentary
In 1977, a characteristically fervid Philip K. Dick arrived to lecture at a science fiction convention and share his experiences from three years earlier, when he became convinced that the world was a simulation, one of many (“there may be 30 or 3,000 of them”) operating simultaneously, glimpses of which he’d seen. Clips from this speech (“If You Find This World Bad, You Should See Some of the Others”) and the Q&A that followed frame Rodney Ascher’s A Glitch in the Matrix. In the five-chapter (plus an epilogue) dive into the world of “simulation theory,” Ascher focuses on five subjects […]
by Penny Lane on Feb 10, 2021 -
The Great Acceleration
A question lingering after 2020 political disruptions—whether the year is one of true change or simply a pause before traditional policies and behaviors return—is one that has also been uppermost on Hollywood minds ever since the day WarnerMedia torpedoed their own theatrical business. The bombshell decision, announced on December 3, to release Warner Bros.’ entire 2021 slate day-and-date simultaneously in movie houses and on HBO Max has prompted all manner of obituaries for cinema as we have long known and loved it. Independent hits such as Moonlight, Parasite and Get Out that have relied on the slow-burning fuses of word-of-mouth, […]
by Colin Brown on Feb 10, 2021
