Activist & Political · African American · Cinematographers · Interviews · War
When I take on a project, one of the first things I try to do is get an idea of the overarching tone the director is looking for. Then I[…]
Directors · Indigenous · Interviews · Women in Film
It’s the kind of film I wanted to make where you see social implications growing from a personal story. What made it very hard was the sadness of it and[…]
Directors · Drama · Interviews
“I try very hard to give the characters in my films a sense of humanity. I want this feeling for the audience that these characters exist outside of the frame.[…]
Designers · Interviews · Production History
It wasn’t always that simple for the shooting unit to improvise with A Hidden Life being a period film, but nevertheless Terry would wander off sets with the actors and[…]
Actors & Personalities · Interviews
Mason was “equally at home playing small, brooding anti-heroes, camping it up in a toga, or doing a nice line in late career self-parody.”
Designers · Drama · Interviews
We were really careful in coming up with the look of Howard’s world to make assumptions about how old he was when he would’ve formed his taste, and what that[…]
Directors · Experimental & Underground · Interviews · LGBT & Queer
“There was no movement! I was not part of a movement, I. Made. My. Own. Films. They. Were. Not. Part. Of. Any. Movement. You’re incapable of understanding that, aren’t you? I have to be in a category. First I’m in ‘Andy Warhol films,’ then I’m an ‘independent.’ I like good films that are worth watching, OK?”
Directors · Festivals & Awards · Interviews
Our globe-trotting correspondent Amir Ganjavie spoke with four emerging women directors at the 2019 Berlinale and Toronto International Film Festivals and the 2020 Sundance Festival. Collectively, they represent France (via[…]
African American · Cinematographers · Designers · Editors · Interviews
We spent a lot of time going through references for the film as well as scouting iconic locations, but what it came down to was devoting ourselves to creating a[…]
Horror · Interviews · Movies · SF & Fantasy
* * * It’s The Day of the Triffids’ fault: when he was a wee lad stuck at home in front of the television with a sprained arm (fault: sister,[…]
Designers · Historical & Epic · Interviews
Queen Anne’s bed was hand built, hand carved and painted. It was 14 feet high with four mattresses and layers of beautiful bedding. The bed is a fairly accurate queen’s[…]
Designers · Horror · Interviews
“We need guilt, Doctor. And shame.” * * * Luca Guadagnino follows up 2016’s A Bigger Splash and 2017’s Call Me by Your Name with 2018’s Suspiria, a remake of[…]
We worked to create a “slow film” aesthetic, with distinct moments where it broke from the rules. Paul planned to use boredom and duration as the method, with longer takes,[…]
Asian · Interviews · Producers & Studios · Production History
What Third Window’s practices and Adam Torel’s insights provide is a view of the industry that contrasts significantly from current Japanese film research, especially in light of other exhibitors and[…]
Designers · Interviews · LGBT & Queer
Call Me by Your Name was nominated for four Academy Awards this year, including Best Picture, Best Lead Actor, Best Adapted Screenplay, and Best Original Song. In this interview, production designer[…]
The secrecy part of Secret Cinema relates very much to this digital and automated world that we are living in. People increasingly want to get away from screens. They want[…]
Actors & Personalities · Franchises & Series · Interviews
I feel like I get to go and play at it now. I mean, I take it very seriously and I do the work. But it feels more like play[…]
When it comes to design, I always try to get into the heads of the characters and then I try to map out the history of the location itself. Who[…]
Directors · Interviews · Romance
On The Love Witch: “I like to make films with a kind of dream logic. My films are a mix of reality and fantasy, or a mix of what is[…]
Activist & Political · Asian · Directors · Interviews
“India has always assigned a special sort of power to film . . . an extraordinary power to corrupt gullible masses has been given to cinema.” – Rakesh Sharma *[…]
