You have to really enjoy what you do, so much so that you don’t care about the money. You really have to give yourself over to it just like a Doctor in Medical School, it has to become the most important thing for a while. You don’t know what day that moment will come when you get the call and everything has to go on hold because it’s your opportunity. We work 12-14 hour days 5-6 days per week, you won’t even know what day of the week it is, much less if its a birthday or anniversary, and NO ONE understands why from your “real life”. You can’t RSVP to anything…well you can but you might have to cancel. There are a LOT of people who think they want to work in film in general, but its not for everyone.
Tag: filmmaker
Interview with Cinematographer Natasha Braier (The Neon Demon, The Rover)
I think working with Nicolas Winding Refn is a gift for any cinematographer, because he is interested in visual story telling, in poetry, in suggesting rather than narrating. He doesn’t care about the conventional established representational mode of film story telling, he goes beyond, and for me thats what always been exiting in film making. I always tend to look for directors that are working in this direction, but Nic is probably the most extreme of them, and that’s what I love about him. He pushes me to get the bravest part of myself, to jump the abyss, he doesn’t care if we fall and crash while trying, he would rather try and fail than to stay in a safe territory. So, I love jumping with him, and most of the time, we don’t fall but we fly.
Interview with Editor Jake Roberts (Oscar Nominated film BROOKLYN)
‘Brooklyn’ was a great experience. There was a really positive energy throughout the shoot and it felt like we might be working on something quite special. It was personal to a lot of the people involved and that seemed to come through in the material and that makes you want to raise your game, especially when you’re watching a performance like Saoirse’s unfold you feel a huge pressure to do it justice. Once John and I were back in London we cut for about 3 months and obviously there was plenty of back and forth but at the same time it was quite a calm and controlled process. We had a very strong first assembly and we never deviated too far from it or went down too many experimental cul-de-sacs. This is largely a testament to Nick’s script which only needed the subtlest of refinements so essentially it was about distillation, making it as tight as possible and all the while carefully calibrating the emotional journey through the performances. As for the Oscars it is all a surreal bonus, like I say you hope as you work on something that it is special and obviously a nomination suggests you did something right but the most thrilling thing is that a wide audience gets to see it and thankfully it seems we managed to strike a chord with a lot of them.
Interview with Cinematographer Mitesh Mirchandani (NEERJA)
Mitesh Mirchandani is a rising cinematographer in the industry who is currently based in based in Mumbai. Only 26, he DP’d the feature film Neerja, which could be the sleeper hit movie of 2016. From here on out, his future is bright. http://www.miteshdop.com/ Interview with Mitesh Mirchandani: Matthew Toffolo: How is the film scene in India? What… Continue reading Interview with Cinematographer Mitesh Mirchandani (NEERJA)
Interview with Filmmaker Luke Guidici (TIME TO EAT)
TIME TO EAT played to rave reviews at the WILDsound Best of Horror/Thriller Festival in February 2016.
Interview with the director Luke Guidici:
LENSES & FILTERS. How to get the best shots in filmmaking
QUESTIONS TO ASK:
-What is the best viewpoint for filming this position of the event?
-How much area should be included in this shot?
SCENE defines the place or setting where the action is laid
SHOT defines a continuous view filmed by one camera without
interruption
SEQUENCE A series of scenes or shots complete in itself.
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 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.
Matthew Toffolo's Summary 