Interview: Luca Guadagnino (Filmmaker)


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Interview: Luca Guadagnino (Filmmaker)

Article: Top 5 Up-and-Coming Directors 2015


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Interview: Jeffory Asselin (Filmmaker)


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Interview: Jeffory Asselin (Filmmaker)

Interview: Lucy Tcherniak (Filmmaker)


Lucy Tcherniak

Interview: Lucy Tcherniak (Filmmaker)

Interview: Tim R. Lea (54 Days)


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Interview: Tim R. Lea (54 Days)

Stephen Amis (Director) Interview – Reaching for the Stars


Stephen Amis, Camera operator Con Filippidis & Director of Photography David Richardson.

Back in 2012, I got the chance to meet Australian true-blue filmmaker Stephen Amis. Promoting his latest cinematic effort at the time, his independent cinema seminar transfixed a room of enthusiastic press folks and cinephiles. In addition, his sci-fi extravaganza, The 25th Reich, took the Revelation Perth Film Festival storm. So, with a couple of years having past between then and now, I made it an all-on-the-line mission to, once again, get in touch with Amis . I chatted to this underrated genre-cinema icon about his love of filmmaking, his multiple production roles, and the Australian Film Industry’s response to big-idea projects.

Where did the idea of the 25th Reich come from?

I made the 25th Reich as a kind of sci-fi homage to the Super-8 movies I made when I was a kid. It was also a celebration of the B pulp films I grew up with – made by directors like George Pal and Sam Fuller…

What are the major challenges with financing a film such as this in the Australian film Industry?

It was very difficult financing the movie – but isn’t that the case with every movie? Australian film agencies generally see genre films as being ‘soft’ as the box office – so it was hard convincing them to come aboard, and ultimately they didn’t. In addition, with Aussie films barely finding any cinema space these days, and DVD sales plummeting, The 25th Reich was a very tricky film to produce and distribute.

How did your plan for the film come together in the script writing/pre-production stage?

Our budget was tiny compared to what you would ordinarily have to spend on this kind of production, and consequently our crew was limited. I wore many hats – co-writer, director, co-producer, not to mention post-production supervisor – so I was the only one who really had the entire film ‘in my head’. I also have a solid background in cinematography, so I was able to very clearly write on the page what I knew could be achieve in production for the specific budget.

What were the highest and lowest points of the production?

For me, the highest point in the making of The 25th Reich was getting the music composed and synchronised – that’s when the magic happens and all the hard work comes together – particularly as this film was very music driven. Up until then, you’re always asking yourself will it work, is it emotionally engaging…

And the low point? Shooting was very difficulty and treacherous. 50 degree days and 2 degree nights in the wildness. Scorpions, snakes, spiders – it was quite arduous!

How did you create the visual effects and set designs on location?

I set-up 8 small VFX teams worldwide to produce the visual effects. We worked mostly by cloud computing and developed a lot of short cuts and new tools to bring the film in on budget. Oddly enough, we barely used any green-screen as this was too time consuming on set and I decided quite early in the production to rotoscope everything in post – when ended up achieving a better look than traditional green screen keying.

 How did everything come together in the post-production stage?

Post-production was like pushups – particularly in regard to the VFX. Every VFX shot you do, is one less you have to do… It took 18 months to finish all of the special effects, along with many edits of the film and replacing and refining each VFX shot from previz, to crude animation, to final animation to fully rendered animation.

How important are genre films such as yours in the image of Australian independent cinema?

I think genre films in general are important worldwide. Genre films, as opposed to other kinds of films, have the unique ability to contain sociological subtext about the times they were made in: Think about the subtext in ‘The Day the Earth Stood Still’, made during the cold war, or the original ‘Planet of the Apes’, made during the Vietnam war. The 25th Reich is no different, and was made in an era of out-of-control right-wing, neo conservative ideology. In terms of subtext, The 25th Reich has more to do with contemporary fascism rather than specifically Nazi Germany.

How did you distribute the film?

The film went through the conventional distribution route – with international and domestic sales. But that old model is dying, and I’ve just setup a new distribution company called ‘Label’, to distribute my next film. Label will be using an unconventional mix of old and new distribution techniques to get films into the market and to attract and engage audiences.

How do you see social media outlets aiding the distribution and advertising of independent films such as yours?

We had a social media campaign running via Twitter and Facebook. The film had quite a good showing on the festival circuit, and I found our social media campaign helped drive and consolidate that. Aside from being able to speak directly to our fan base, which is hugely important to me, there are also other businesses based issues of specifically directing your target audience ‘somewhere’ to achieve an identifiable goal – whether that may be buying a cinema ticket, purchasing a DVD or the soundtrack…

How important to you is the fan base that it now has?

Our fan base (and genre film fan bases in general), are very loyal. It’s an important base which we plan to take with us on the next instalment of the movie which we are now writing. So in that context, we are trying to harness and grow our fan base across the franchise.

How important are national film festivals to independent film-makers such as yourselves?

With Australian films struggling to find cinema space (it’s now almost impossible to book a movie) , and the DVD market plummeting – the festival circuit is one of the last avenues for filmmakers to showcase their work on the big screen. It’s important that Australian film festivals showcase more Australian content. At the moment, the large festivals pay lip service to Aussie films, but not much more. There are many Aussie films seen each year that don’t see the light of day and they really should.

What are the advantages and disadvantages of the Australian independent film industry?

The disadvantage is that we have no protection for Australian cinema. It’s not like in France where film is considered a cultural art form and protected by a fairly rigid quota system. North Korea set up a quota system too, and like France, their industry is now thriving. We desperately need a quota system here in Australia to protect Aussie cinema.

What is your next project?

I’m developing a small number of projects. Two science fiction films and one big broad Aussie comedy – all to be shot in 3D…

Has anything in the industry, major or minor, changed in the industry over the past to years?

There’s been many many changes – many of the big obvious changes on the distribution landscape and the way content is seen and disseminated. Film is not the cultural pop icon it was 20 years ago. It’s competing with many other consumer products now. And that is really what’s at the core of the revolution we are now having. I wouldn’t say film is dead – but it’s certainly going through some kind of metamorphosis…

Official website: The 25th Reich

Tom Conyers (Director) Interview – Working-class Cinephile


Australian filmmaker Tom Conyers.

At 2012’s Revelation Perth Film Festival, I got the spectacular chance to chat with Victorian Filmmakers Mark White and Tom Conyers. These two, promoting their new flick The Caretaker, were as approachable and professional as possible. So, a couple of years later, I took it upon myself to get in touch with them to chat about their past, present, and future successes. Conyers, the director, was lauded for using Victoria’s searing landscapes to his advantage. Building an influential bottle film, Conyer’s style brought a tight-knit cast and crew together for this explosive genre event. Recently, I caught up with Conyers to talk about the movie, his career, and the places he’s going next.

How did you begin your career in film-making?

I wouldn’t call where I’m at as having a career in filmmaking, more a residual existence, but I’ve always been interested in the craft, from way back as a kid making super 8 movies.

Where did the idea of the caretaker come from?

I was trying to think of a cheap script. ‘The Caretaker’ is basically four people in a room with a vampire. We were able to make it a lot more cinematic than that with great locations, by shifting much of the action to the outdoors, and putting in a few scenes with extras, though. I also wanted to try to bring up issues that aren’t usually the preserve of genre films. To me ‘The Caretaker’ is about domesticity. Whether the house is always a home. Is marriage something that must be sanctified in a church or whether it can exist as an idea between couples. I wanted to look at less salutatory aspects of Australian culture, particularly to do with masculinity. And to invert the idea of the groom carrying the bride over the threshold into domesticity, as anyone will understand who’s seen how the film ends. Even the vampire is domesticated, being let out like a cat at night. One of my favourite plays is ‘The Doll’s House’ by Henrik Ibsen and I think that fed into the film somehow.

Were your inspirations/ideas by the current popularity of vampires in any way?

I wouldn’t say I’ve religiously followed vampires. My favourite vampire novel would be ‘Carmilla’ by Sheridan Le Fanu. Very subtle, which it had to be for the time. In terms of vampire films, ‘The Hunger’ and ‘Martin’ are my two favourites. And they’re quite old now. So I wasn’t terribly aware of the current trends.

How did your plan for the film come together in the script writing/pre-production stage?

It mostly came together pretty well despite great obstacles. I feel I got about 70% of the film I wanted, and the rest I can live with!

What was it like to work with such a close group of people during the film’s production?

There was good and bad. The depressing thing is that not only does a vast proportion of the public and critics write off Australian films, but so too do many actors and crew working on them. It means that making an independent film is just one long torturous uphill battle. There were a handful of people we worked with both in front of the camera and behind it who were great, and there have been some really supportive champions of the film since. But Australian films are never going to really thrive till there is better support at home. Which is a shame, because there seem to be independent films getting made all the time in this country but most people wouldn’t know it. I don’t know why the ABC doesn’t set up a channel like the Indigenous one they’ve now got, but devoted exclusively to homegrown, independent content. It might just be that Australian film generally fails because no one gets to see it. The problem with this stupid world where protectionism has been deemed a dirty word, where the market is left to decide what lives and dies, is that instead of the greater choice and lower prices this purportedly offers, instead we are left with monopolies dictating the publics’ tastes with increasingly homogenous and overpriced fair. But that’s how this dumb world works. ‘The market, the market.’ Likes it’s this living thing we have no choice but to be in thrall to.

What were the highest and lowest points of the production?

The food, the mice, the skepticism were the low points. The high point was just the thrill of making a feature film finally, and working with those people who were enthused and doing a great job.

How did you create the visual effects and set designs?

In terms of visual effects, we tried to do as much in-camera as possible and then enhanced things later on computer. But the real impressive computer graphics were done in Brazil by a friend of mine, Verginia Grando, and her team. The sets were put up and taken down and redressed in record time by the producer Mark White and set-dressing duo Jane Cherry and Jessica Moran.

How did everything come together in the post-production stage?

We took a year editing the film. We’d probably do it much faster if we had it over again. But because you’re feeling your way in the dark, you make mistakes like having your sound files in the wrong format and discovering you need to recode them and so on. Plus we had one big continuity problem. One of the actors in the film doesn’t have any costume changes. He’s in the same gear from start to finish. No one was really watching his continuity but the actor bizarrely kept rolling his sleeves up and down!

How important are genre films such as yours in the image of Australian independent cinema?

I don’t know. I suppose genre films are appealing to the independent filmmaker because people will still watch them even if marquee names aren’t attached. The genre crowd generally seems less snobbish. I’ve seen some really good independent dramas and comedies that just don’t get a look in at all because no one knows any of the actors in them.

What are the advantages and disadvantages of the Australian independent film industry?

There are almost no advantages. There are almost an overwhelming number of disadvantages. I’m still trying to think of the advantages.

What is your next project?

I have multiple projects. Whether any come to fruition is another matter. But they are in all sorts of genres and styles. I’m taking to a few people, and there are a few people doing their best to make some of them real, but we’ll see. I won’t believe I’m making another film till the first day on set and it’s too late for investors to pull their money out.

Has anything in the industry, major or minor, changed in the industry over the past to years?

I think it’s become a lot cheaper to make a good-looking film these days. I starting out making 16mm shorts and the cost of the film stock, processing and telecine was exorbitant. Our whole budget for ‘The Caretaker’ would probably have gone on those three things if we hadn’t been able to shoot digital. But while digital has been a godsend in one way, it also means people can copy your work without any degradation in quality. Making money out of movies for the independent filmmaker still seems like an uphill battle.

Official website: The Caretaker


 

 

Zack Snyder’s Worst to Best Movies


Article:

Zack Snyder’s Worst to Best Movies

Ridley Scott (filmmaker) Profile – The Game Changer


Occupation: Director, producer

Born: November 30th, 1937

Nationality: British (UK)

Works: Blade Runner, Alien, Thelma & Louise, Gladiator, Black Hawk Down, Matchstick Men, Kingdom of Heaven, American Gangster, Robin HoodPrometheus

“Are you not entertained!” shouts Russell Crowe as Maximus in the 2000 Academy Award winning historical epic Gladiator. This question may be frequently asked by its director Ridley Scott, as his direction strives for perfection with each film. Ridley and his brother Tony Scott are two of the most influential directors in modern cinema. Though it can be argued their recent work may not match their earlier groundbreaking achievements, they are sought-after genre directors who have created and augmented a fascinating array of unique trademarks. When people question the relevance of auteur theory, there is no doubt either one of them will come to mind.

Ridley Scott & Russell Crowe (Gladiator).

Scott and Damon Lindelof, co-creator/writer of Lost, have recently sparked many heated online debates about the ambiguity of their sci-fi blockbuster Prometheus. What some may consider plot holes, others see as a smart use of sci-fi elements; creating bold, philosophical questions without answers. Scott has used ambiguity in many of his films, developing a true sense of mystery. Many of his films use ambiguity to question the viewer’s involvement in the film viewing process. The ending of Blade Runner for example is one of the most discussed scenes in cinema history. Harrison Ford’s character Rick Deckard as far as we know may or may not be simply a tough persona used to shield himself from emotional torment. Scott creates these debates not to frustrate, but to create though provoking discussion. Ambiguity is not only a defining trait of his now acclaimed work but has led to some of the most influential films in pop culture. It has separated Scott’s films from mind numbing modern sci-fi desperate to answer every question with nonsensical answers for a target demographic.

Ridley Scott & Harrison Ford (Blade Runner).

Ridley Scott & Harrison Ford (Blade Runner).

With a number of Scott’s films critically derided upon release but considered groundbreaking decades later, will the same happen to his recent thought provoking, ambitious, violent, enigmatic and ambiguous sci-fi horror flick? History suggests that only time will tell. In the 30 year gap between Scott’s sci-fi adventures, he has approached different genres eagerly. Genre defining works of art and popcorn chomping blockbusters such as Thelma and LouiseBlack Hawk DownMatchstick MenKingdom of Heaven and American Gangster have shown Scott’s directorial elements used outside his phenomenal realm of dark, disturbing sci-fi with Alien and Blade Runner. Film Noir and westerns are clearly important to Scott. With Matchstick Men boasting an energetic Nicholas Cage performance, a femme fatale, a bag of money an troubled criminal minds behind every operation; these noir elements prove the existence of film/neo-noir as relevant to modern film-making.

Trademark: Female action heroes, recurring cast members, set-piece storyboards, epic scope

Ridley Scott & Noomi Rapace (Prometheus).

Ridley Scott & Noomi Rapace (Prometheus).

Scott loves a true message illustrating the merit behind his entertaining and subtle storytelling. His love for powerful yet sensitive female characters proves to be an alluring convention. His characters are important for the image of feminism in cinema, seeing them as regular people willing to break out of their chains and achieve their own sense of freedom. Continuing this idea in Prometheus with Noomi Rapace’s character Elizabeth Shaw as the leader of the ill fated expedition, his presumed attraction to Rapace’s ass-kicking and gothic computer hacker Lisbeth Salander in the Swedish version of The Girl with the Dragon Tattoo, now defines Rapace as the heroin of modern cinema. Thelma and Louise, Ripley, and G. I. Jane are also part of Scott’s penchant for femininity. Thelma and Louise’s race to the end is another example of ambiguity in Scott’s filmography. Following the classic western convention of the ‘race to the border’, the ending of Thelma and Louise suggests an escape from men controlling the two main characters throughout a mediocre existence.

With Prometheus‘ ambiguous questions, based on important themes of philosophy, sexual reproduction, birth and death, and creationism, being handled with such depth, Scott’s film-making techniques and symbols have once again proven to be a major talking point. Scott’s smart, sensitive and ambiguous storytelling, despite mixed responses, has always inspired thought-provoking discussion about not only our connection to his characters, but his level of determination in consistently creating bold, violent and creative cinema.

Interview: