- Browse Netflix by genre/director/keyword-hybrid –
- Browse Netflix by genre –
- My Accidental Career as a Russian Screenwriter – So I worked up the nerve to show the ‘‘Rushkin’’ script around. The reaction of the first executive who read it was something out of ‘‘Barton Fink’’ and roughly what I expected: ‘‘When you’re ready to make some real money,’’ he said, ‘‘bring me something about a cop or doctor.’’
- The Women of Hollywood Speak Out – In both 2013 and 2014, women were only 1.9 percent of the directors for the 100 top-grossing films. Excluding their art-house divisions, the six major studios released only three movies last year with a female director. It’s hard to believe the number could drop to zero, but the statistics suggest female directors are slipping backward. Prof. Martha Lauzen of San Diego State University reports that in 2014, 95 percent of cinematographers, 89 percent of screenwriters, 82 percent of editors, 81 percent of executive producers and 77 percent of producers were men
Elokuvallisia huomioita maailmalta 8.01.2016 – 10.01.2016
Elokuvallisia huomioita maailmalta 30.12.2015 – 7.01.2016
- “Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eight – The shoot was unique in that there were certain sequences which needed to be filmed while snow was falling. So the cast always had to be prepared to shoot any scene at any time, because if they got snow, they’d be shooting one scene, while if they didn’t, they’d be shooting another. Because of this, the cast really needed to be off-book once the shoot began. Everyone knowing the script that well gave Quentin the ability to shoot eleven-minute long takes if he wanted to, which ended up being great for the performances — I was watching some terrific theatre on a daily basis — and also informed some of the editing choices. If we had an amazing master of a scene playing out in the 2.76:1 aspect ratio, why would we want to cut away from it?
- The Movie Mogul of the Middle –
- Levottomat, suullinen historia –
Elokuvallisia huomioita maailmalta 28.08.2015 – 4.09.2015
Elokuvallisia huomioita maailmalta 1.02.2015 – 15.02.2015
- An Exclusive Look at Sony’s Hacking Saga –
- Xavier Dolan’s look book for Mommy – My interview with André Turpin about his striking cinematography for Mommy is in the February issue of American Cinematographer. This post features an interview with the film’s talented director, Xavier Dolan, that I did after the print deadline. I will return to the previous theme of LUTs in a future post. +++ Cinematographer André Turpin with director Xavier Dolan on the set of Mommy +++ Xavier Dolan Xavier Dolan is a French-Canadian wunderkind who directed his first film at the age of 19. Now 25, Dolan presented his fifth film, Mommy, in Cannes’ Main Competition last year, and shared the Cannes Jury prize with Jean-Luc Godard. Mommy’s striking cinematography also earned André Turpin a Bronze Frog at the Camerimage festival last November. Mommy follows the attempts of, Die, a flamboyant French-Canadian single mother, to cope with her hyperactive adolescent son, Steve, who is expelled from school for violent behavior. Die reaches out to Kyla, an introverted school-teacher neighbor, to home school Steve. This unlikely trio bond and create a family of sorts, an environment that offers the promise of healing each person’s pain and isolation. However a lawsuit in the wake of Stevie’s violence threatens to undo this fragile harmony, and wreak havoc on Mommy, her son and her new friend. The film’s simple story is presented in a series of emotional scenes, filmed with originality and brio in a unique 1:1 square aspect ratio. When I saw Mommy, I had that wonderful feeling of seeing an important filmmaker at work. +++ the trailer watch on YouTube +++ inspiration Benjamin B: I wanted to start by saying how lucky you are to work with André Turpin Xavier Dolan: I know how lucky I am, I’m so lucky I found him, I’m so grateful ! BB: I think he feels the same way. I was wondering how you start out on the process of making a film, because you’re writing as well as directing. Does the story first come in images, does it come with a song? XD: Honestly music is often the inspiration, and comes before the script or the story. After hearing songs I will see images and visualize scenes or moments in a story. And that’s often how I start to write. I don’t have a routine, I don’t get up in the morning thinking “Oh, I have to write today”. I write when I have an idea, and music gives me ideas. Once I’ve written the script, I prepare by researching imagery in photography or painting books, or even magazines. Powerful imagery is everywhere and that’s
- David Duchovny’s sense of humor – "My favorite was the fan fiction that had Alex Krycek, my nemesis, and me as lovers. It was beautiful."
Elokuvallisia huomioita maailmalta 12.10.2013
- Love & Sincerity: A Conversation with James Gray – You shouldn’t give the audience what it wants, you can’t. In some sense, it’s your job to infuriate the audience, to provoke them. Giving them what they want is cowardice. The whole point is to give the audience what it needs.
- Polone: Why Studios Should Act Like Indies — Vulture – Without the resources to hire various “script doctors,” indies usually stick with the original writers all the way through the process, something that more often maintains the quality of a film rather than undermines it.
- Paul Feig: How to Edit an Improv-Heavy Comedy — Vulture –