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Andrew Droz Palermo || A Process Close To Music || The Cinematography Of A Ghost Story

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.

Philippe Le Sourd AFC || The Cinematography Of The Beguiled

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.

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. 

 

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. 

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. 

Interview with Directors Conrad Vernon and Greg Tiernan of Sausage Party

Release week for any movie is a busy time, but directors Conrad Vernon and Greg Tiernan managed to find some time to chat with us here at Cinelinx about the new animated adult feature, Sausage Party.  They talked with us about their process, approach to humor, and the seven year journey to getting the film on the big screen.  

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