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Writer/Director Nathan Silver On The Fate and Form of Thirst Street

Thirst Street, a sordid trauma study with a twist on fairy tale idealizations, denotes a significant departure from Silver’s unbound form to something more staged and mannered. As the fate of Silver’s characters come to question, and the fabled nature of fate itself does too, we endure a Silver tragedy at its most pre-designed. 

From his usual outlines to a 25 page treatment, Thirst Street still maintains some of Silver's unscripted sensibilities. Dialogue was improvised. Shots were intuited on the day, guided by the atmosphere of a setting and the emotional necessities of a scene. Still it maintains a form, with a stylized beginning & end, and a more fluid, naturalistic, midsection. 

Nathan details the use of these new formal elements, the ways which they apply thematically to Thirst Street, and their current and hoped for evolutions in his future work. 

Thirst Street follows Gina (Lindsay Burge) an American flight attendant who, after the suicide of her husband, finds a dream in Paris worth living for. But, as we quickly discover, that dream ends up being just one in a slew of questionable authenticities. 

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D.P Andrew Droz Palermo on prepping and re-adapting for A Ghost Story

Would you have guessed the bulk of A Ghost Story’s aesthetic was decided on set, day to day? I wouldn’t have, and I didn’t. The fact derailed everything I thought I knew about cinematographer Andrew Droz Palermo (You’re Next, Rich Hill, A Teacher) and Writer/Director David Lowery’s ( Ain’t Them Bodies Saints, Pete’s Dragon) formal motivations and forced the interview to operate in a spontaneous mode similar to the film’s production.

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Arri's Alexa SXT-W Will streamline Wireless and improve ergonomics

The Alexa SXT-W’s (W for Wireless) primary addition to the already exceptional Arri SXT platform, is the addition of a built-in three-radio system that works harmoniously to avoid the usual interference. A built in, low-latency, 10 bit, HDR video transmitter, WiFi, and ECS (Arri’s Camera+Lens Control system) comprise the three and hopes to improve upon the SXT’s ergonomics by reducing the need for external cabling and video transmitters. 

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Sean Porter D.P || Rough Night ||

I interviewed Sean Porter for the first time early last year about his work on Jeremy Saulnier's slasher/thriller Green Room. The second time around was a bit brighter, a beach-side domestic dramedy: Mike Mill’s coming of age epic 20th Century Women. And here we are at interview three with his most expensive film, the Sony funded studio comedy Rough Night starring Scarlett Johansson, Kate Mckinnon, Zoe Kravitz, Jillian Bell, Ilana Glazer and which was directed by Broad City’s Lucia Aniello & cowritten by Paul W. Downs. In the gamut of the three, I’ve no clue where to place it. 

 

On a technical, on-set structure spectrum I’ve got a better idea. Rough Night moved the fastest. Sean opens up about his first experience on a big budget studio film, how he managed to light at a breakneck multi-camera TV-style pace with bare minimum prep, and the perks of industry veteran reinforcements. Outside the indie/studio comparisons, we talk form: how to photograph a comedy, and how the 2.39 Aspect Ratio can elevate the genre. 

 

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Sean Porter D.P || 20th Century Women || Interview

Sean Porter photographed two of my favorite films of 2016. Released first was Green Room, a brutal siege horror exercise which we talked about earlier in the year, and the other is 20th Century Women, which, during comparison, Sean describes as “a coming of age, sun-drenched, family dramedy”. They could not be more different. Although, in terms of his approach to exposure, are surprisingly similar. Sean deflates the conceptual stigma surrounding a fluid, less controlled set (and their practical limitations) and brings to light their ability to let intuition breathe. 

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