What a terrific honour it was sit down with the talented costume designer Linda Muir, who is based in Toronto, Canada. She has worked in the industry for the last 30 years, on many successful films and TV shows, which she talks about in the interview. A must read for anyone working or wanting to work in the industry today:
Category: movie tips
Interview with Oscar Nominated Production Designer Anne Seibel (Midnight in Paris, Bonjour Anne)
Anne Seibel earned an Oscar Nomination for “Midnight in Paris”. Based in Paris, she has worked with some of the top directors in the world today, including Steven Spielberg, David Frankel, M. Night Shyamalan, Sofia Coppola, Clint Eastwood, and 3 Production Designer assignments with Woody Allen.
Go to her website: http://www.anneseibel.com/
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 Music Editor/Composer John M. Davis (Pride and Prejudice and Zombies)
Not really. Music is something I’ve always done. I was arranging for bands and choirs from junior high on. I went to NYU film school with the intention of becoming a director or screenwriter, but over time I discovered that my musical abilities were more unique and more marketable.
Interview with Filmmaker Francesco Faralli (LIKE IN THE MOVIES)
I was interested and a little in apprehension. I think it’s very important to laugh about Tiziano’s errors because if you feel guilty to laugh about it it’s because you feel a kind of distance from him and your thought is something like “poor thing, I feel sorry for him and his condition, so I shouldn’t laugh about it”; instead, Daniele taught me that equality goes from here too, you can laugh as long as you can see and appreciate the efforts.
Interview with Oscar Nominated Production Designer Michael Corenblith (Apollo 13, The Blind Side)
What an honor it was to talk with the amazing Production Designer Michael Corenblith. His resume is filled with some of the best movies in the last 20 years, including: Saving Mr. Banks, The Campaign, Game Change, Dinner for Schmucks, The Blind Side, Frost/Nixon, Apollo 13.
Interview with Storyboard Artist Kurt Van der Basch (Star Wars Episodes VII and VIII)
It was an honor to sit down with the brilliant storyboard artist Kurt Van der Basch, who worked on Star Wars: Episode VII. Of course he’s not allowed to talk about it, which is fine because there are so many other questions to ask him.
Please go to his website or follow him on Facebook and view 100s of storyboards from his various credits, including: Assassin’s Creed, Sense8, The Borgias, Chronicles of Narnia, and The Illusionist, to name a few.
http://www.facebook.com/kurtvanderbaschstoryboards
http://www.kurtvanderbasch.com
Interview with Art Director Jeremy Woolsey (Pitch Perfect, Million Dollar Arm, Dirty Grandpa)
You’ve worked in the Art Department in over 40 productions in the last 10 years. Is there one or two films that you’re most proud of?
I am proud to be a part of the runaway hit
“Pitch Perfect” .. That film has touched a great deal of people. And I think our work on “Million Dollar Arm” was rewarding.
How to make a Documentary Film
MAKING A DOCUMENTARY FILMMAKING NOTES DOCUMENTARY FILM – TIPS for Documentary Film Production THE FOUR BASIC DIVISIONS OF STYLE 1) EXPOSITORY DOC’S Commenting on the Acting of the scene rather than being a part of it -A lot of times Propaganda films (TV NEWS) -Express point of view clearly and leave little room for misinterpretation… Continue reading How to make a Documentary Film
Tips on Negotiating when setting up a project
NEGOTIATING FILMMAKING NOTES How to Negotiate – Every aspect of producing involves negotiating, in one form or another. You always need to go in with the attitude that people already want to work with you. 12 MAJOR POINTS TO REMEMBER IN NEGOTIATIONS 1. PLAN WITH YOUR LIMITATIONS IN MIND Know you limitations. In poker they… Continue reading Tips on Negotiating when setting up a project
Matthew Toffolo's Summary 