filmmaking
Audio-visual media have become intertwined. For both to survive in a digital age, cooperation between TV and cinema has become a go-to strategy.
We spoke with Kirsten Johnson, director of the documentary Cameraperson, how she became a cameraperson herself, and about her inspirations.
We spoke with Ceyda Torun, the director of KEDI – a feel-good documentary about the cats in Istanbul – about cats and “positive terrorism” and helping people restore their faith in humanity.
FI Editor in Chief Manon de Reeper is back with another screenwriting video – today, she has 5 tips to help you get started with writing!
Phil Drinkwater & Tim Woodall tell about how what went into making their BFI-backed psychological horror film Broadcast Signal Intrusion.
Riefenstahl’s portrayal of the 1934 Nazi Party Congress in Nuremberg, Triumph of the Will exemplifies propaganda filmmaking. It is vital to watch Leni Riefenstahl’s work for the Nazis to be reminded of the power of filmmakers, especially in these uncertain days.
We sat down with Nick Padley, director of the horror short film GENE, which is making the rounds on the festival circuit.
With Hitchc*ck/Truffaut, Kent Jones has created a meticulous and perceptive work in which essay, commentary and conversation overlap, charting the strange synthesis of reverie and technique which constitutes the art of filmmaking.
Most films follow a straightforward style of editing, yet here are 10 that chose to break the mold, and were successful in doing so.
Recently, the crowdfunding campaign of an upcoming Western called Gunhand was pointed out to me. I was very impressed: production values look amazing, and the story sounds promising.
Director Lee Kirk is just about to release his sophomore effort, Ordinary World. The film is about an former rockstar, played by Green Day’s Billie Joe Armstrong, reflecting on the “path not taken”- of committing to his rock-god dreams, instead of settling down in the suburbs and raising a family. Alistair Ryder spoke to the filmmaker about the autobiographical nature of the film and how his love of music helped bring the screenplay to life.
As readers may or may not know, I took a break from writing these past few months as I was running my first ever film festival. The Drunken Film Fest (DFF) had its inaugural year in Bradford, England this past summer and it was pretty successful for a first year free film festival, if I do say so myself. However, my background when it comes to festivals is not in running them, but rather in trying to get accepted to them.
Recently, I spoke with filmmaker Phil Giordano. Originally from Staten Island, New York, he elected to take the NYU’s Directing Program in Singapore, which is where he lives today. In 2010 he released the controversial short film The Empty Playgound, about a man struggling with inner-demons who tries to abduct a young girl from a playground.
A distinctive and imaginative style plays a part in every Wes Anderson film. His influences range from French New Wave films to Jacques Cousteau’s books and films. One influence in particular intrigues me:
A novel is a single voice from a single point of view. A movie is a mix of art and business with hundreds of people from carpenters and actors to camera operators and art directors contributing to the big screen adaptation. Is it fair to compare a novel to its movie counterpart?