Recently I had the privilege of talking to John Nash of Cedar Games, a new team developing their first game, Z-Alert! Z-Alert promises to be a surprisingly colorful zombie survival game packed with customizable elements to suit the play-style of just about any player. For more information on Z-Alert, head over and read my news piece on the game's announcement. If that's enough to spark your interest and you want to know more about Z-Alert, our interview covers more details on the game's story, multiplayer experience, and much more!
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.
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.
We had the chance to sit down with the cast of the new Power Rangers to discuss bringing the iconic heroes to life on the big screen for a new generation, filmming those action scenes, and much more. Come inside to check out our full 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.