Director Geremy Jasper breaks down how he taught Australian actress Danielle MacDonald to rap and why he never consider casting an experience hip hop artist to anchor his Sundance breakout.
Soderbergh’s career has been one of constant reinvention and refusing to accept Hollywood conventions of how to make and distribute films.
The Safdie Brothers breakdown how they created the cinematic immediacy of “Good Time” using small crews, real locations, amateur performers and the wounded side of a celebrity the public doesn’t see.
Virtual reality creators from this year’s Fantasia Film Festival talk about how powerful a tool 360 VR can be for action and horror filmmakers.
Kogonada was writing a PhD dissertation on Ozu when he realized he wanted to be a filmmaker himself.
Cinematographer and director Doug Emmett breaks down the challenges and possibilities of shooting an TV show like a low-budget indie film.
For the first time, the Sundance Institute is helping one of the festival’s alumni with distribution and marketing to explore a new model for festival films.
The stunt coordinator who designed and shot the action stunner reveals his secrets (hint: creative editing) and explains why Charlize Theron is in the top 1% of Hollywood actors doing action.
Complaints are starting to mount. Is it bad theaters, Nolan’s unorthodox and bold use of sound, or is it just too damn loud?
The Paley Center for Media is now accepting submissions for its 14th Annual Paley DocPitch Competition.
‘The Wrong Light’: Lessons learned after being lured into a compelling (but not altogether true) story about human trafficking.
Christopher Nolan chided Netflix over their lack of theatrical distribution, but the streamers aren’t the reason so many movie goers will see an inferior version of “Dunkirk” this weekend.
