Sean Baker

Two Cameras with Unprecedented Resolution & New York Film Fest Must-Sees [PODCAST]

By Liz Nord

This episode of Indie Film Weekly unveils bigger sensors on land and in the air, and Hollywood’s worst kept secret.

Jon Fusco and yours truly, Liz Nord discuss the Harvey Weinstein sexual abuse accusations and what they mean for indie film, share highlights from our New York Film Festival coverage including conversations with Richard Linklater and Sean Baker, and ponder what exactly is the future of storytelling. In gear news, RED has finally released its Monstro sensor and DJI has released its highest resolution drone cinema camera yet. DP Open Soffer joins us to answer an Ask No Film School question about how to shoot dialog scenes.

As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films.

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From:: No Film School

‘The Florida Project’: Sean Baker on Why You Need to Invest in Yourself When No One Else Will

By Jon Fusco

When no one else gave Sean Baker the financing to make his movies, he took matters into his own hands.

The Florida Project may be the first Sean Baker movie you’ll go out to see in theaters, but he’s been on the scene for a long, long time. Perhaps best known for the iPhone 5s filmed Tangerine, Baker has been a champion of low-budget filmmaking for his entire career.

More so than that, he has been a trailblazer in the democratization of film. Inspired by the Dogme 95 movement pioneered by Danish directors Lars von Trier and Thomas Vinterberg, he makes the absolute best use of the resources that are available to him. Take Out, The Prince of Broadway and, yes, Tangerine were all shot on minuscule budgets with minimal crew and whatever gear they could afford to shoot on.

His latest film, The Florida Project, breaks this trend but keeps the Dogme 95 spirit well alive. It’s his first film to be granted a million dollar budget and shot on 35mm every frame oozes with beauty.

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From:: No Film School

The Florida Project – VIFF 2017 Review

By Shane Scott-Travis

New Jersey-born filmmaker Sean Baker follows up his candy-colored transgender screwball comedy Tangerine (2015)––also his highly lauded cinematic breakthrough––with another vivid tour-de-force film, which brings with it an illustrious new joie de vivre to the essentia of youth, The Florida Project.

Set in a superannuated, very tacky and pastel colored corner of Orlando interstate, which Baker and cinematographer Alexis Zabe artfully reconstruct into a vibrant and gossamer-like playground that is guaranteed to warm the most jaded moviegoer’s heart.

Presenting a poignant and often conquering portrait of childhood as lovingly glimpsed through the eyes of Moonee (Brooklynn Prince, stunning), a smart-alecky six-year-old being raised by her unruly young mother, Halley (Bria Vinai, also brilliant) during summer vacation.

The mother-daughter duo live week to week at a seedy roadside hotel, “The Magic Castle,” which is managed by the compassionate but crusty patriarch, Bobby (Willem Dafoe, in a champion role sure to net him another Oscar nomination and, if there’s any justice in the Academy of Motion Picture Arts and Sciences, his first win).

Baker, somewhat in the tradition of François Truffaut’s oppressive childhood epic The 400 Blows (1959), presents an alternately endearing, upsetting, and occasionally romantically sentimental vision of tender age exploration and wonder on the serrated edge of adult misery and misunderstanding.

Moonee, with her ragtag and bobtail buddies find humor and hoopla amidst abandoned homes, derelict fields, ice cream parlor parking lots, and laundromats, and while the grownup world of booze-fuelled fist fights, and fornication is never far off, it’s also a star-distance away from the play and pleasures of a spirited childhood’s point of view.

As Moonee and her pals’ vulnerable existence is paralleled with the sacrifice and sweat that Halley must endure, the darker adult-world remains on the periphery yet ever present, in a film that Baker populates with the sort → continue…

From:: Taste Of Cinema