- 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 1.02.2015 – 15.02.2015
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 –
Elokuvallisia huomioita maailmalta 10.10.2014 – 13.10.2014
- Tapaus Monsterimies-elokuva, dokumentin tekijän ja kohteen oikeudet –
- Scenes From Iñarritu’s Birdman Set – Let the hyping begin
- Vaikuttaako tieto tv-sarjan jatkumisesta tai loppumisesta siihen, katsotko sitä? –
- The worst TV I’ve ever made and everything it taught me (podcast) – hyviä pointteja mm. riskien ottamisesta
Elokuvallisia huomioita maailmalta 2.10.2014 – 5.10.2014
- Hollywood Salaries Revealed, From Movie Stars to Agents (and Even Their Assistants) –
- Elokuvissa esiintyvien hahmojen luokittelu on melko hankalaa – Even something as simple as perceived age can be thorny. Characters are tagged depending on which age bucket they fall into — 5 or younger, 6 to 12, 13 to 20, 21 to 39, 40 to 65 and 65 or older. Most people are good at sorting characters into the three younger groups, but it can be hard, particularly for coders in their late teens or early 20s, to gauge age over 30. When they can’t cross-check IMDb for the age of the actor — like in the case of an uncredited background character who speaks — the coders are trained to reach a consensus based on stuff like laugh lines, hair color or the age of that character’s children (if any).
- Maintaining the mystery: editor Kirk Baxter on Gone Girl – fxg: How much coverage was there, how much footage was shot?
Baxter: 500 hours.
Elokuvallisia huomioita maailmalta 6.09.2014 – 12.09.2014
- Star Trek TOS in Cinerama – hauska idea
- Syyskuussa 2014 tulee teattereihin kaksi Pekka Lehdon elokuvaa – Kalle Kinnusen haastattelu –
- The Future of Practical Creature Effects –
- Are film tax credits cost effective? (Kinda not) –
- What Happens When You Accuse a Hollywood Director of Rape? –
- The Real Cliff Huxtable –
- Luc Besson on operating the camera while directing – Today I couldn’t direct watching a monitor 15 meters away from the actors. I’m incapable of doing that. I can’t imagine shooting any other way.