Check out my Filmmaker Magazine interview with Rachel Morrison regarding her work on Netflix’s Mudbound. Set in post-World War II rural Mississippi, Mudbound was shot on Alexa Minis using Panavision PVintage spherical lenses and Panavision B, C, and D series anamorphic glass.
Continue onward for a few set pics and a snippet from the interview in which Morrison breaks down the pros and cons of working with film vs. digital. Continue Reading ›
Top left: Italian release poster by Renato Casaro
Top right: Polish poster by Andrzej Bertrandt
Set in Spokane, Washington, Vision Quest (1985) stars Matthew Modine as a high school wrestler who embarks on a quixotic mission to drop multiple weight classes in order to take on his region’s top grappler.
Madonna makes a brief appearance in the film as a singer at a club crooning “Crazy for You.” That cameo was enough for Italian post artist extraordinaire Enzo Sciotti to re-imagine the movie as a Madonna vehicle in which Modine also does a bit of wrestling – in a ring.
An Arriflex 35 BL4 sits perched behind Natalie Portman (making her film debut) on the set of Luc Besson’s The Professional (1994).
As a little added bonus, here’s Gary Oldman discussing one of his many unhinged line readings from the movie, via a Playboy interview:
“What’s funny is that the line (where I scream “Everyone!”) was a joke and now it’s become iconic. I just did it one take to make the director, Luc Besson, laugh. The previous takes, I’d just gone, “Bring me everyone,” in a regular voice. But then I cued the sound guy to slip off his headphones, and I shouted as loud as I could. That’s the one they kept in the movie. When people approach me on the street, that’s the line they most often say. It’s either that or something from True Romance.”
Check out my interview with The Shape of Water cinematographer Dan Laustsen (Nightwatch, Crimson Peak, John Wick: Chapter 2, The Brotherhood of the Wolf) for Filmmaker Magazine.
Laustsen’s third collaboration with director Guillermo del Toro, The Shape of Water tells the story of a mute cleaning woman (Sally Hawkins) who falls in love with the amphibious creature (Doug Jones) housed at the government research lab where she works.
Shot on Arri Alexa XTs with Master Prime lenses on a surprisingly skimpy budget of $19.5 million.
Here’s a snippet from the interview: