Interview with Costume Designer Ginger Martini

It’s not as easy as it looks on tv. The hours are beyond gruelling and at first the money is non existent. But keep at it. Be nice to everyone, cuz you never know where your next job is coming from and who that Production Assisant will be later (maybe your next Production Manager) and only work for free for a little bit. Then bill what you’re worth and if you are good at it, the money will come. Make sure you like your scripts and it’s easier to live with them 24/7 for months on end. Take advice from people who are successful in the department you want to be in, and learn to take criticisms well and not personally.

Interview with Cinematographer Albert Arthur (Better Call Saul, Breaking Bad)

I started prep three weeks before the first day of shooting. I asked Vince Gilligan and Peter Gould if the wanted to continue the style of Breaking Bad, and their answer was that they did not want a complete break, but they wanted it to be different as well. They stressed repeatedly that they felt TV shows were all starting to look the same, and that they wanted “Saul” to look like nothing else on television. They showed me stills from “The Conformist” and from Kubrick’s work. Our first day of shooting was in bright sunlight in a skate park. I kept looking for Jean-Louis Trintignant in a period tuxedo, but he was nowhere to be found.

One point of departure was that they didn’t want the handheld look that gave ”Breaking Bad” its’ nervous energy. In fact they did not want any camera movement that was unmotivated. This was quite a departure from my last few shows, where the producers would start twitching if the camera wasn’t moving at all times. It required retraining my operators to avoid movement unless absolutely necessary.

Vince kept pushing the look darker and darker, saying “we know who they are, we don’t need to see them all the time”, which is a departure from what is essentially a comedy.

Interview with Tim Kail (The Work of Wrestling)

I’m not convinced Vince McMahon wants good quality wrestling or that good quality wrestling is his priority. I’m not convinced Vince McMahon is even a fan of professional wrestling; at least I don’t think he’s shrugged off the insecurity a lot of wrestling fans have about loving this form of performance art. I sense a degree of self-consciousness in him, an unwillingness to accept the roots of his chosen form. I do think Vince McMahon wants to create a good quality show, however. I think he absolutely adores show-business and spectacle, and I think he’s a master of spectacle. I think there’s a frustrated filmmaker in Vince McMahon, and that he would love to have been a big time movie director ruling Hollywood during the Golden Age. I see that frustration, that dissatisfaction when I watch RAW from time to time. He often says “we make mini movies” and I hear top members of the roster recite that nonsense too. It’s the kind of thing a young, insecure artist thinks, comparing their chosen form to something typically regarded as “higher art” instead of just being proud of their chosen medium. It’s like a painter saying “I make mini songs”. No. You don’t. You make paintings – so make paintings and be good at it and don’t worry about making anything else. Or, if you want to make mini songs, become a musician. And I suppose that would lead me to what I’d like to discuss with him – I’d want to ask him why he believes “Sports Entertainment” is superior to professional wrestling, I’d want to know what his understanding of pro-wrestling actually is, what medium he thinks he’s actually working in, and whether or not he’s doing what he actually wants to be doing with his life. I’d want to know if he’s willing to work with his talent to tell great stories again. I respect his tenacity and his ability to create marvelous, money-making spectacles, I just wonder if he’d be happier making films in the 1940s and 1950s or variety television shows in the 1960s & 1970s.

Interview with Special Effects Supervisor Daniel Acon (Zoolander 2, Gangs of New York, Passion of the Christ)

I think that practical special effects will always be required for many situations in movies but there is a fast growing technology which allows many practical fx to be recreated in post production by the visual effects team. From explosions to squibs, there are many

visuals that now can replace to a good degree our practical fx. There will always be challenges but also innovations with new technologies, practical special effects are developing with them and are always sharing more with visual effects.

Watch STEADI-KID Short Film – 1 minute comedy

Originally posted on Under 5 minute & Smartphone festival:
STEADI-KID, Comedy/Commercial, 1min, USA Directed by Scott McDermott Still using a traditional baby carrier with too much shake and wobble? You need the SteadiKid. The only baby carrier that uses technology developed for the movies. http://www.scottmcdermott.com Watch FILM: https://www.youtube.com/watch?v=EIw9IrMdlwI Watch the Audience FEEDBACK Video from the Festival:…

Interview with Filmmaker Hojin Kim (BURGLAR)

This Irish oil painter had boyfriend named George Dyer. Bacon first met Dyer in 1964 when he broke into his apartment. The portrait of George Dyer was the first motivation to make the Burglar.

Interview with Festival Director Christina Wilkinson (ITSA Film Festival)

Originally posted on Festival Reviews:
The 7th Annual ITSA Film Festival takes place in Sonora, California in the heart of Gold Country the second Friday, Saturday and Sunday of November 2016. Run entirely by volunteers, ITSA Film Festival is dedicated to creating a wider audience and a greater awareness for all filmmakers, especially up-and-coming and students.…

Deadline TODAY: Feature/Short Screenplay Festival

Originally posted on WILDsound Festival:
WILDsound is a screenwriter’s treasure! They take enormous time to provide the most expert, detailed feedback, even allowing my choice to incorporate all the committee’s ideas or stay with my draft. With caring support, they’ve honored each deadline and every award they promised, and I’m forever grateful for their right-on…