eFilmCritic is back with more SXSW 2008 filmmaker interviews. A couple of years ago, the fine folks at eFilmCritic began the daunting task of interviewing as many SXSW feature filmmakers as possible in the weeks leading up to each festival. The next handful of filmmaker interviews are now online for your reading enjoyment. They include:
“During the period of shopping the film around, I kept working on the script and by the time I finally found the right producer, I felt pretty secure explaining the story and tone of the film. We recorded the voices at the end of 2006 and shot in early 2007. During the live shoot and in post, I was privileged to work with an amazing cast and crew (look them up!). The edit process was a kind of syncopated back and forth – we sculpted the story to accommodate the animated segments as they were created, then revised the animation, etc…. The animation work was extensive and we had a tiny, overworked but delirious crew. The final post sound, music and mix process was also a (kinda stressful) joy.”
– Emily Hubley, from The Toe Tactic
“I’m not sure I’ll ever feel like I’ve totally made it as a filmmaker. Sweeping the Oscars (can you even win in more than one category for a documentary?) would probably do it. Not having to worry about financing a project that interested me would also be nice. But for this film in particular, which was my first feature and basically made on a shoestring all by myself, just seeing it premiere at a great festival like SXSW feels like making it.”
– Rachel Goslins, from ‘Bama Girl
“By chance I saw a bullfight, and was stunned. Not an entirely pleasant experience, but like nothing else. I couldn’t believe this was going on, and that we outside of the spanish-speaking world knew so little about it. Felt an urge to do something with this material. Thought it would be by taking photos, because I’m a photographer. Managed to meet the right people in Spain and was given extraordinary access to this world, so decided to make a film to make full use of that. With the cinematography of Christopher Jenkins and James Morton-Haworth – not to mention the help of an excellent production manager named Algor Lieman – we captured the matador’s world beautifully.
Then Nina Gilden Seavey, a tenacious veteran filmmaker, with a passion and dedication to the material, brought all of her experience and skill to the project as producer and co-director. With Nina, and the support of Scott Dunklee and Kristie Nova, we were able to move forward in the edit.Ultimately, it was John Califra’s score and the editing talent of Ian Rummer that brought to post-production the artistry in the production and the subject matter itself.”
– Stephen Higgins, from The Matador
Stay tuned to more from eFilmCritic, as they tell me that many more interviews are on the way.