According to sound designer, Mark Mangini, Black Mass director Scott Cooper had an earlier life as an actor and writer, but he would be the first to admit he doesn’t have deep expertise in any of the other disciplines. “He’ll be the first one to tell you, ‘I want you to be a part of this storytelling and I want you to bring your skills to helping me tell this story with what you do,” stated Mangini. “He was always open to ideas and that was great.” […]
If the sound community had a philosopher, it would be Mark Ulano. Sitting a mere five minutes with the sound mixer makes you understand why filmmakers like Quentin Tarantino want to work with him.
When writer-director George Miller rekindled his Mad Max franchise with the 2015 film, Mad Max: Fury Road, with the first of the films having been produced 36 years ago, he knew he would need to mix the classic elements of the series while bringing audiences a 21st century experience. Makeup and hair designer Lesley Vanderwalt, speaking from Sydney, Australia, noted that she had sufficient background experience for the new project as she had also worked as makeup supervisor on the second film, The Road Warrior, in 1981. […]
“Danny’s has been one of my idols, forever,” said editor Elliot Graham of Steve Jobs director, Danny Boyle. “A combination of Danny Boyle, Alan Sorkin and a bio of Steve Jobs is sort of the perfect storm of creative energies.”
Editor Affonso Gonçalves built a language with director Todd Haynes when they first worked together on Mildred Pierce, “We really hit it off aesthetically. We hit it off socially and became friends and we kept in touch. He sent me the script for Carol and it was amazing. Honestly, I would do anything for Todd, so it was another chance to work with him.” […]
The world of stop-motion animation is, given the labor-intensive production process, one suited to only the most dedicated practitioners. On Aardman Animations‘ Shaun the Sheep, co-directors Mark Burton and Richard Starzak shared the workload, combining Burton’s background in comedy writing and Starzak’s experience in animation on Aardman’s previous productions. He accepts freely that “Animation has been what I’ve wanted to do all my life, ever since I was a child. I got into it 30 years ago and it’s always been my thing.” As with many specialists in the field, Starzak “wasn’t qualified as such. I did a fine art degree, but I discovered animation while I was doing that degree. I started to look for work, and Aardman seemed like a good bet.” […]
In what started as a stage play written by Charlie Kaufman, the stop-motion animated feature Anomalisa took over two years to finish before its Dec. 30 release date – even a successful Kickstarter campaign encouraged it to see the light of day. […]
For some odd reason, when editor Tom McArdle met director, Tom McCarthy in 2002, McCarthy couldn’t get the editor’s name right and kept calling him “Tim.” Despite the fact that their names sound nearly identical and they share the same middle name: Joseph, McCarthy’s head was in the clouds. No matter. The two Toms have forged a strong working relationship since the film the Station Agent and the profoundly compelling Spotlight is their fifth collaboration. “We’ve developed a style, for better or for worse,” said McArdle. “Our past films were somewhat intimate, often focusing on unlikely relationships. With Spotlight, the story centers on private moments as in the past films.” Some of their other work includes The Visitor (2007), Win Win (2011) and The Cobbler (2014). […]
Oscar-winning cinematographer John Seale (The English Patient) parachuted in as director of photography on Mad Max: Fury Road replacing, Dean Semler. The Australian DP dropped out for personal reasons shortly before filming of the post-apocalyptic adventure was about to begin in Namibia. […]
It’s hard to imagine a Steven Spielberg movie without director of photography Janusz Kaminski behind the camera. And Bridge of Spies, the latest film from the director, renews the collaboration that began with Schindler’s List in 1993. His work on that film garnered Kaminski his first Oscar, followed by a second for the World War II battle epic, Saving Private Ryan in 1998.