Author

Jack Giroux

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‘Young Woman and the Sea’ Writer Jeff Nathanson Writes With Sincerity

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“There was actually an extra year or so in between the two swims. There’s a lot of stuff that you have to do when you’re taking someone’s life from a hundred years ago and condensing it to two hours. So we had to play with time. It is not easy. Every frame was a fight if it had to really stand the test of time to stay in the movie. So it’s just one of those things where you have to be really diligent about how you edit a film like this because one second here or there is a big difference in this kind of thing.”

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Interviews

‘Young Woman and the Sea’ Composer Amelia Warner Crafts A Rousing Score

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“I think I wanted it to feel very classic, kind of like an old-school Disney movie. But I also didn’t want it to feel too much like a biopic. It was like, how do we push it? How do we make this really cinematic? And just introducing those few elements seemed to really work, and everybody seemed to really like it. I think very early on, it was established that we didn’t have to be super true to the period.”

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Interviews

‘Only Murders in the Building’ Editor Matthew Barbato Breaks Down ‘Blow-Up’

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“A big question on this episode was how much extra information the audience was going to need because we were throwing such a curveball at them, telling an Only Murders in the Building episode and story where we needed to hit the comedy, the investigation, and the character moments. But we were telling it through this lens of some characters we barely even know. All we really know about them is that they’re a little weird and maybe very deadly and suspicious.”

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Interviews

‘Here’ Cinematographer Don Burgess Pushes The Envelope Again

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“I think for Bob, it has always been, what really gets him going is figuring out a way to do something in traditional storytelling. Perhaps it can turn into making Fords and Chevys. You can be on the factory line, and you can make a hit movie. But to get him going, to get him excited about a project, I think he has to see something in it that pushes him and what he does to another level.”

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News

‘Contact’ Was The Most Challenging Film For Cinematographer Don Burgess

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Contact is a tremendous movie. 27 years after its release, Robert Zemeckis’ film remains awe-inspiring. The Carl Sagan adaptation is emotionally, intellectually, and viscerally engaging science-fiction. It’s the full-package. For cinematographer Don Burgess, it is the most challenging film he’s shot. Which is saying a lot considering he just made Here with Zemeckis, in which the two explore the passage of time from one angle.

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Interviews

‘Fight Club’ Sound Designer Ren Klyce Revisits A Classic

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“Re-visiting Fight Club is like a time machine and makes me remember details of my life that I would have otherwise have forgotten. I remember being with David Fincher during the early edit of the film. One night we decided to take a break and watch “Harold and Maude”. Halfway through Fincher said, ‘This film is kind of like Fight Club.’ That memory would have been lost had I not revisited the film.”

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Interviews

‘The Line’ Director Ethan Berger Depicts An Animal Kingdom

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“My costume designer on this movie, Akua [Murray Adoboe], is literally one of the most important people. She is really, really smart. We talked a lot about each character, who they were, and how they’d present themselves. Akua used their wardrobe — and we both did — as an opportunity to characterize them, illustrating conformity within the frat while also distinguishing one character from another. Conformity is a theme we tried to integrate into the wardrobe.”

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