An Interview with the makers of Infinity Baby
Tiya Sircar (the voice of Sabine Wren) chats with us about her work on the final season of Star Wars Rebels, the importance of the character in fandom, her favorite hair color for Sabine, and so much more. Come inside to check out all the great answers in our full interview!
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.
Kaitlyn talks process, particularly, how her open individual preparations and approach meshed with Kathryn’s open and liberating methods of directing actors -- and how those things came together for Detroit's more difficult scenes.
Would you have guessed A Ghost Story’s aesthetic was primarily formed instinctually day by day? I wouldn’t have, and I didn’t. The fact derailed everything I thought I knew about Andrew Droz Palermo (Cinematographer: You’re Next, Rich Hill, A Teacher) and David Lowery’s (Writer/Director: Ain’t Them Bodies Saints, Pete’s Dragon) formal motivations and forced the interview to operate in an intuitive mode similar to the film’s process.
Kathryn Bigelow has reentered the awards season with Detroit; offering the best ensemble cast you’ll see all year (both big name and soon to be breakout stars) Bigelow puts us in the murkier throes of the 1967 Detroit Riots by resurfacing some of its buried horrors. In the Algiers Motel incident three black teenage boys were slain by the hand of their protectors. One murder was left unsolved and the others were ruled “Justifiable Homicide” allowing all involved cops to walk unconvicted.
While at SDCC 2017, I had the chance to chat with the stars of the animated film, Resident Evil: Vendetta. Erin Cahill and Dante Carver spoke with me about their work on the new flick and the mocap process involved.
Sofia Coppola now represents just the second woman of seventy Cannes Best Director Award winners. The Beguiled, her prize winner, is an immaculate exercise in aesthetic restraint. All facets of its design are an echo of the screams curdling beneath a relentless Southern gentility.
Critical to this masterfully controlled technique is Coppola’s Oscar-nominated cinematographer Philippe Le Sourd AFC. Philippe and I discuss the film’s use of perspective, his unique low-contrast take to visualizing oppression, and camera movement's potential to disrupt the emotion of a scene.
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.
Ansel Elgort came by after attending the L.A Premiere of Edgar Wright’s Baby Driver (which world-premiered at SXSW) to rep Destiny 2 at Activion’s big booth in the South Hall of E3. In the film, he stars as the titular “Baby” and I got to sneak some film related questions in before segueing into our overwhelming videogame surroundings. We hung out in the private booth and got to play some Destiny 2 afterwards.