Director Johannes Roberts on 47 Meters Down

Check out my talk with 47 Meters Down director Johannes Roberts from Filmmaker Magazine. The film sneakily made over $40 million at the box office after initially being set for a straight-to DVD release. In fact, the DVDs were made, shipped, and even ended up on a few store shelves before they were pulled in favor of a theatrical release.

Here’s a few quotes from the story:

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Interviews with nominees from the 2017 Academy Awards

The nominations for the 89th Academy Awards were announced today and I’ve been lucky enough to interview a few of those honored this year. Here are the links:

Arrival screenwriter Eric Heisserer (for Creative Screenwriting)
La La Land cinematographer Linus Sandgren (for Filmmaker Magazine)
Lion cinematographer Greig Fraser (for Filmmaker Magazine)
Moonlight cinematographer James Laxton (for Filmmaker Magazine)

Interview: Gotham cinematographer Crescenzo Notarile

Check out this interview I did for Filmmaker Magazine with Emmy-nominated Gotham cinematographer Crescenzo Notarile ahead of tonight’s Season 3 premiere on Fox. Notarile talks about Gotham’s signature style, the challenges of hiding lights from the show’s wide-angle lenses, and what he learned from working on Sergio Leone’s Once Upon a Time in America.

Here’s Notarile on Once Upon a Time in America cinematographer Tonino Delli Colli.

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An interview with Swiss Army Man cinematographer Larkin Seiple

Here’s a link to an interview I did with Swiss Army Man cinematographer Larkin Seiple for Filmmaker Magazine. And here’s a quick sample of Larkin talking about working with the various animal critters in the film:

Filmmaker: Do you have any horror stories about the bear or the raccoons?

Seiple: The raccoons were good. I believe their names were Boris and Natasha. Raccoons can really only either grab something or run away and each of the raccoons had a specific move that it could do. So they weren’t too bad, we just had to do a lot of takes and they were constantly trying to escape, which made the owners nervous because we were in a giant forest.

The bear was challenging to shoot in that we didn’t have a lot of time with it. We had to set up an electric fence around the bear wherever we were shooting just in case something went wrong, which is nerve-wracking to shoot any sequence where you’re surrounded by an electric fence for your protection. The owners also seemed a little intimidated by the bear. (laughs) They looked very nervous when he wasn’t in the cage. Its main lure was ice cream sandwiches. They would throw five or ten of them back into his cage whenever they finished a take. He loved them. The bear’s name was Tag and he was very sweet but you could hear him rolling around in the cage and you thought, “My god, how much does he weigh?” The suspension on the truck was just shaking.

Interview: Forsaken director Jon Cassar

The reformed gunfighter unable to escape his past. The greedy land baron. The gentleman hired gun with his own code of ethics. In the 1950s, these were among the most familiar tropes of the Western genre, repeated ad infinitum in an era when oaters dominated prime time television and filmmakers such as John Ford, Budd Boetticher, Delmer Daves, and Anthony Mann cranked out horse operas at the pace of one per year.

Those days are long gone, distant enough that the archetypes in a nostalgic Western such as Forsaken feel as welcomingly familiar as slipping on an old pair of boots. In Forsaken – now out on VOD and in select theaters – Kiefer Sutherland is the reluctant gunfighter, Brian Cox the greedy land baron, and Michael Wincott the genteel mercenary. Eager to leave behind his violent past and reconcile with his preacher father (Donald Sutherland), Kiefer’s John Henry Clayton heads home to Wyoming only to find the town’s farmers being forced off their land. Anyone who knows their Randolph Scotts from their Ben Johnsons can guess that Sutherland’s six-shooters won’t stay holstered for long.

Forsaken marks the feature film directorial debut of Jon Cassar following a 30-year career in television, highlighted by his Emmy-winning work as director and producer on Fox’s 24. Cassar spoke to Deep Fried Movies about making that leap. Continue Reading ›