Interview with Editor Tia Nolan (How to be Single, Friends with Benefits)

Chatting with Tia Nolan about the craft of editing was a pure joy. Her recent credits include: How to be Single (2016), Angie Tribeca season 2 (2016), Annie (2014), Friends with Benefits (2011), The Woman (2008), and Bewitched (2005). She is a wealth of knowledge in the art of making a great comedy¬†–¬†as you’ll learn… Continue reading Interview with Editor Tia Nolan (How to be Single, Friends with Benefits)

Interview with Cinematographer Adam Kimmel (Capote, Lars and the Real Girl)

It was a great honor to sit down with the very talented DP Adam Kimmel. His career has spanned almost 30 years, starting out as a teenager being an apprentice for Cinematographer Michael Chapman. His Cinematographer credits include: “The Ref”, “Beautiful Girls”, “Almost Heroes”, “Jesus’ Son”, “Capote”, “Lars and the Real Girl”, & “Never Let… Continue reading Interview with Cinematographer Adam Kimmel (Capote, Lars and the Real Girl)

Interview with Production Designer Beth Mickle (Drive, Whiskey Tango Foxtrot)

I would absolutely recommend this route for aspiring production designers. The lower budget world is where you learn to be resourceful, where you can somewhat safely make mistakes which can be recovered, where you learn the complete fundamentals of how a film is made. I try to approach every production—large or small–with a calm nature, and I think that comes from being in the trenches for so many years and learning how to adapt to in all situations. The biggest con to this route is that formal “union” filmmaking can be a bit jarring when you do finally make the leap to the larger arena—but once you learn those nuances, the process really smooths out. That is definitely one pro if you do start in the larger union world—you learn those protocols right away, so you enter the film world knowing how union positions are categorized and how the different departmental responsibilities are broken down.

Interview with Cinematographer Jeff Cutter (10 Cloverfield Lane)

I am most proud of my latest film, 10 Cloverfield Lane, because the photography is very close to what I had hoped we could achieve, and in some scenes, better than I hoped. My favorite experience was receiving an email from JJ Abrams about 2 weeks into principal photography, telling me how great he thought everything looked.

Interview with Production Designer Jane Musky (When Harry Met Sally…, Ghost)

Jane Musky is one of the top Production Designers working in the industry today. She has designed over 40 films in the last 30 years, working with directors Mike Newell, Ivan Reitman, Andy Tennant, Gus Van Sant, Jerry Zucker, James Foley, and The Coen Brothers, to name a few. She also happens to be married to the President of the United States (well on the TV show Scandel) for the last 28 years too!

It was an honor to interview Jane and talk about her amazing career, and it looks like she’s just getting started.

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 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 Line Producer Alton Walpole (Crazy Heart, The Spirit, Baraka)

A unit production manager (UPM) is responsible for the administration of a feature film or TV production. A line producer is a type of film producer that functions as the key manager during the daily operations of a feature film, television film or an episode of a TV show. I was honored to sit down… Continue reading Interview with Line Producer Alton Walpole (Crazy Heart, The Spirit, Baraka)

Interview with Stunt Performer James Cox (Star Wars VII, The Dark Knight Rise)

I was planning to go to university and it was while on a year out to work and earn some money that I decided to follow a childhood ambition and trying to become a stunt performer. The JISC stunt register is the world most well established body of professional stunt performers and the training is definitely extensive, ranging from Marital arts, scuba diving, gymnastics, rock climbing, horse riding, rally driving to trampolining. Needless to say I didn’t end up going to university and after training for 4 years in six different discipline I qualified and joined the elite ranks of the British Stunt Register.