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Interviews

Toby Oliver ACS || Get Out || Interview

Get Out, a genre sleeper hit rightfully boasted as having spawned "From the mind of Jordan Peele’" has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd amassed a $57.8 million gross revenue. Careers have been secured.

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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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M. David Mullen ASC || The Love Witch || Interview

The Love Witch has promptly become requisite sustenance for cinephiles. As the obligatory end of the year lists come churning out, you’d be damned if you didn’t catch The Love Witch on most of them. It’s made the Best of 2016 lists of  the New Yorker, Timeout, L.A Weekly, Sheila O’Malley (of rogerebert.com), Rottentomatoes 100 Best Horror Films of All Time, The Rolling Stones Best Horror Films of 2016,  The Thrillist’s sexiest movies of 2016, Filmschoolrejects Best movie Fashion/Best Movies of 2016, and Business Insider’s 24 Best Movies you probably haven’t seen this year, etc…. etc...

The Love Witch looks like film’s just aren’t able to anymore. It’s a glammed up homage to its Vistavision/Technicolor idols -- its flawless aesthetic is pivotal and helps ascend the label of a love letter. I talked with, and learned much, from its veteran cinematographer M. David Mullen ASC on The Love Witch’s production. 

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Head Of Animation Hyrum Osmond And Story Artist David Derrick Jr on Disney's latest: Moana

Moana is the story of a young Polynesian heir ineffably drawn to the one thing that her community opposes: venturing out into the ocean, like the little mermaid was so drawn to land, like a monster to Boo, and like an ambitious rat was to the culinary arts. 

Moana Head of Animation Hyrum Osmand (Zootopia, Frozen, Wreck It Ralph, Tangled) and Story Artist David Derrick Jr. (How To Train Your Dragon, Flushed Away, Bee Movie) talked with the press in a roundtable before speaking to the visual arts students at the University of Denver. Tucked away in a corner of the university, David tapped into what made Moana so personal to him, allowing him to segue easily into the film’s themes of Polynesian ancestry and culture while Hyrum explored the unique challenges this particular film offered Disney’s elite animators. 

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Green Room DP, Sean Porter, Discusses Adapting for the Narrative

Sean Porter, of the indie darlings Kumiko The Treasure Hunter, Eden, It Felt Like Loveand I go in depth on the technical and conceptual aspects of his latest hit Green Room’s cinematography. We discuss small details like T-Stops and Focal lengths, and broader intentions like visual arcs brought on literally, not just metaphorically, by the script.

Porter began his career in the midst of the digital revolution which allowed him to shoot on 35mm and 16 while toying with digital from the advent.

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