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Back to One, Episode 105: Hannah Marks

Mega-talented multi-hyphenate Hannah Marks started writing Banana Split when she was still a teenager. It was loosely based on her real life. She rewrote it with her writing partner Joey Power as her acting credits piled up in stuff like The Runaways, The Amazing Spider-Man, and Dirk Gently’s Holistic Detective Agency. Then, after she co-directed her first feature (with Power), After Everything, she was able to get Banana Split made with herself in the staring role, directed by Benjamin Kasulke. In this half hour, she talks about the ups and downs of standing her ground and seeing the dream of […]

Back to One, Episode 104: Miriam Shor

Miriam Shor is unrecognizable as Lorraine Ela in the powerful new Netflix film Lost Girls. It’s the kind of performance that doesn’t feel performed, that doesn’t get recognized often because it’s invisible. We talk about that phenomenon this half hour, and break down a hilarious moment from the show Younger, where Shor played the beloved character Diana Trout. She talks about the importance of feeling like she is in collaboration with a director, and how being cast in a role you don’t think you’re “right for” can help you grow. Plus much more! Back To One can be found wherever […]

“People Live on Hope When There’s Limited Freedom”: DP Gonzalo Amat on The Man in the High Castle and SEAL Team

Two of the most elegantly directed and photographed shows on television and streaming right now—and two of the most disparate in terms of their visual style and tone—share a common filmmaker, cinematographer and director Gonzalo Amat. I first became aware of Amat’s work as director of photography on The Man in the High Castle, Amazon’s bold and nerve-shredding adaptation of Philip K. Dick’s sci-fi novel that imagines an alternate America ruled by Japanese and German powers following a US loss in World War II. In its fourth and final season, The Man in the High Castle jumps between multiple realities […]

Filmmaker’s Spring, 2020 Issue Online and Un-Paywalled

Filmmaker‘s Spring 2020 issue is now online, arriving in mailboxes, and at whatever newsstands and bookstores that are still open amidst the Coronavirus pandemic. And because so many of us are working from home, sheltering in place, or on some form of lockdown, we’ve released every article from the paywall and are also providing to all a link to a free PDF of the entire issue. As Managing Editor Vadim Rizov wrote in a tweet, the issue’s runlist is one organized around something of a now-phantom slate of films and topics. Going to press at the end of February, the calendar […]

“All of our Frames Match Exactly on Every Pass”: DP Stefan Duscio on The Invisible Man, the Alexa Mini LF and Compositing Uninterrupted Shots

The newest incarnation of The Invisible Man is not a scientist driven mad by his own discovery but a tech billionaire, Adrian (Oliver Jackson-Cohen), whose newest creation—an “invisibility suit”—allows him to silently terrorize his ex, Cecilia (Elisabeth Moss). When Adrian’s lair is revealed along with the suit’s resting place, production folks are in for a knowing chuckle—holding the suit up are a set of Mafers and Israeli arms. For the uninitiated, the former is a clamp frequently used by the grip department and the latter is an adjustable arm for attaching onboard monitors to cameras. It’s a sly bit of low-budget inventiveness […]

“A Cow At 8:00 AM is Different Than A Cow At 2:00 AM”: Animal Trainer Lauren Henry on First Cow

Kelly Reichardt peppers her 19th Century Oregon Territory with warm cakes and endearing fauna. Eve, the “first cow” in the territory, is a symbol of opportunity to everyone but its natives, the hinge of the film’s plot, a romantic proxy to its protagonist, “Cookie,” and one of animal trainer Lauren Henry’s best behaved cows. The secret to contriving “wild” and natural animal behavior in the preposterous habitat of the movie set? Patience. Putting the time in to normalize the set for the animal and any action he or she might have to perform in it. But Henry’s work goes beyond […]

Back to One, Episode 103: Haley Bennett

Haley Bennett has given us some great work in films like The Woman On The Train and The Magnificent Seven, but her performance in Carlo Mirabella-Davis’s Swallow is so fully-realized, so ground-shaking, so important, it feels like an artistic re-birth. In this half-hour, she talks about facing the doubts and fears she had with revealing herself in the role of Hunter, the importance of the fruitful and freeing collaboration process with Mirabella-Davis, and how this truly emancipating experience changed her approach to the work. Plus much more! Back To One can be found wherever you get your podcasts, including Apple […]

Back to One, Episode 102: Skylar Astin

He got his big Hollywood break with Pitch Perfect, but Skylar Astin had already made it to Broadway in the musical sensation Spring Awakening. Lately, it seems he’s been in every television show that features people breaking into song — Glee, My Crazy Ex-Girlfriend, and now the NBC hit Zoey’s Extraordinary Playlist, where he plays Max, Zoey’s best friend, who is secretly in love with her. On this episode, he talks about the hard work that goes into making that show, being bribed into his first audition as a kid, and how his stage experience continues to pay dividends in […]

“Whatever I’m Working on Sort of Annihilates Everything That Came Before It”: Steven Soderbergh on the 20th Anniversary of Erin Brockovich

Twenty years ago this month, director Steven Soderbergh achieved what most filmmakers dream of but rarely experience when his Erin Brockovich proved to be that rarest of movies: an artistic success that was also a box-office smash embraced by critics. An aggressively linear drama following the structural gymnastics of The Limey, Erin Brockovich was nevertheless every bit as smart, adult, and distinctive as Soderbergh’s other recent work; combining the journalistic detail of All the President’s Men with the working-class character study of Norma Rae and the entertainment value of a 1940s Howard Hawks comedy, it proved that 1998’s Out of […]