The Road to Oscar Is a Significant Moderated by Director Jeremy Kagan
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www.SHOOTonline.com Winter 2018 Super Bowl Feedback 12 Films’ titles & photo credits on page 3 credits titles & photo Films’ The DGA Awards 22 Road To Oscar 4 ASC Awards Preview 24 VES Awards Preview 26 Production Outlook 15 Sundance Film Festival 27 How Do Talented S I New Directors N C E E E 2 2 2 0 0 0 0 0 0 2 2 Take Their Careers 2 To The Next Level? They enter SHOOT’s Annual NEW DIRECTORS SEARCH Visit EnterNDS.SHOOTonline.com to enter. See page 31 for details. BAFTA WINNER WINNER WINNER DGA NOMINEE SUNDANCE FILM FESTIVAL SUNDANCE FILM FESTIVAL CRITICS’ CHOICE DOCUMENTARY AWARDS NOMINEE DOCUMENTARY SPECIAL JURY PRIZE LONDON BEST SPORTS BEST DIRECTOR (THE ORWELL AWARD) AUDIENCE AWARD DOCUMENTARY BRYAN FOGEL “THERE WERE INSTANCES OF DOPING USE, TRUE. BUT NO ONE IS MAKING A BIG SHOW OF IT.” – VLADIMIR PUTIN JANUARY 30, 2018 “AN EXTRAORDINARY SPORT MEETS ESPIONAGE THRILLER. ICARUS LAYS OUT THE FULL ABHORRENT SCALE OF RUSSIA’S SYSTEMATIC CHEATING AUTHORISED FROM THE VERY TOP. THE ULTIMATE HUMILIATION FOR ANTI-DOPING, AND THE OLYMPIC MOVEMENT.” “A TRULY ABSORBING PIECE OF FILMMAKING. COULDN’T BE MORE TIMELY.” CONSIDER T UTH THE THRILLER THAT TOOK DOWN AN EMPIRE SHOOT MAGAZINE, COVER 2 REVISION 1 NETFLIX ICARUS PUB DATE: 02/16/17 TRIM: 9”X10.875” BLEED: 9.25”X11.125” LIVE: 8.5”X10.375” ROAD TO OSCAR Perspectives From Different Filmmaking Disciplines Reflections on The Shape of Water, Dunkirk, Get Out, Lady Bird, Call Me by Bros Warner courtesy of Your Name, Beauty Searchlight courtesy of Fox and the Beast, of A24 Wallace/courtesy Merie by Photo Darkest Hour By Robert Goldrich, Road To Oscar Series, Part 14 Photo by Jack English/courtesy of Focus Features Jack English/courtesy by Photo of Focus courtesy Pictures of Universal courtesy of Sony Pictures Classics courtesy Pictures of Sony Along The Road To Oscar is a significant moderated by director Jeremy Kagan. to the sound barrier. It’s a challenge but destination in and of itself—the DGA Later that same evening, at a gala cer- “once you break through,” you can find Awards. And four of this year’s five DGA emony in Beverly Hills, del Toro won the “the true art.” nominees for Outstanding Achievement DGA Award, making him the odds-on Most importantly, though, asserted del in Feature Film correspond with those favorite to take the Academy Award for Toro, is thorough preparation. “When in the running for the Best Director Os- Best Director. you prepare, an accident is benign.” But if car: Guillermo del Toro for The Shape of During the DGA symposium, del a director isn’t properly prepared, an acci- Water (Fox Searchlight); Greta Gerwig Toro observed that directing entails such dent can turn opportunity into “disaster.” for Lady Bird (A24); Christoper Nolan prime responsibilities as creating worlds In his preparation for The Shape Afor Dunkirk (Warner Bros.); and Jordan and deftly dealing with the unexpected of Water, del Toro knew he wanted to Peele for Get Out (Universal Pictures). happenings that invariably come up dur- adopt a “dry for wet” approach to cer- (The remaining DGA nominee was ing filmmaking. He likes to call the latter tain underwater sequences, which had Martin McDonagh for Three Billboards “orchestrating the accidents,” citing the cinematographer Dan Laustsen, DFF, From top left, clockwise: A scene Outside Ebbing, Missouri while the adage, “the obstacle is the path.” using smoke, wind machines and pro- from The Shape of Water; Greta other filmmaker up for the Best Direc- The director shared that there were jection to create a dripping, pulsating Gerwig (r) directs Saoirse Ronan tor Oscar is Paul Thomas Anderson for “at least two major crises” every day on feel contributing to the illusion of water. in Lady Bird; a scene from Dunkirk; Phantom Thread.) The Shape of Water. How a director and This enabled the actors to perform with a scene from Get Out; Timothee SHOOT was on hand for the Direc- his team deal with these crises is crucial, their eyes open, tapping into their facial Chalamet in Call Me by Your Name; tors Guild’s Meet the Feature Nominees he affirmed. expressions, serving to heighten feel- a scene from Darkest Hour; Emilie symposium earlier this month (Saturday, Those unexpected occurrences or cri- ings of both romance and mystery. Georges, one of the Best Picture 2/2) at the DGA Theater in Los Angeles ses are both the best and worst parts of Del Toro said he knew dry for wet nominated producers on Call Me by where dual Oscar/DGA nominees del being a director, continued del Toro. Out would work, having successfully de- Your Name. Toro, Gerwig, Nolan and Peele shared of the unexpected can come something ployed it in the feature Hellboy. The dif- insights into their films. The session was positive and beautiful. It’s akin, he said, Continued on page 6 4 SHOOT February 2018 “A MASTERWORK. A supremely elegant, fever-dream masterpiece. Wickedly funny and weirdly romantic. The performances are astonishing.” — Stephen Rebello, PLAYBOY “ONE OF THE BEST PICTURES OF THE YEAR” ON OVER 60 TOP 10 LISTS INCLUDING NATIONAL BOARD OF REVIEW, VANITY FAIR, LOS ANGELES TIMES, THE HOLLYWOOD REPORTER, ROLLING STONE, VOGUE, VULTURE, INDIEWIRE ACADEMY AWARD® 6 NOMINATIONS BEST PICTURE BEST ACTOR BEST DIRECTOR Daniel Day-Lewis Paul Thomas Anderson BEST SUPPORTING ACTRESS BEST ORIGINAL SCORE Lesley Manville Jonny Greenwood BEST COSTUME DESIGN Mark Bridges Written and Directed by PAUL THOMAS ANDERSON ©2018 PHANTOM THREAD, LLC. #PHANTOMTHREAD ALL RIGHTS RESERVED. PHANTOM THREAD - SHOOT - Final ROAD TO OSCAR FEATURE FULL PAGE, 4C STREET: 2/12/18 DUE: 2/2/18 PAGE 1 OF 1 BLEED: 9.25" X 11.125" • TRIM: 9" X 10.875" • SAFETY: 8.5" X 10.375" February 2, 2018 12:22 PM PST PT_SHOOT_2-12_1F ROAD TO OSCAR Directorial Insights Into Dunkirk, Get Out and Lady Bird Continued from page 4 how to film.” sionals around you. whereby Get Out was shot in just 23 ference this time around with The Shape Challenging himself in this manner While Nolan’s films are ambitious days, Peele often made time to break of Water, explained del Toro, was that spurred Nolan’s growth as a filmmaker, and often involve complex logistics that away from takes to “walk and talk” the dry for wet technique had to yield a a maturation which paradoxically makes require extensive, detailed planning, with actors, take them aside to gain “painterly” feel. it increasingly difficult to come up with he still likes to leave some room for the their feedback and provide them with As for the feel a director must have, del something he hasn’t yet experienced. unexpected, happy accident that can oc- counsel before resuming shooting. As a Toro related that “the set is a living thing” However, Dunkirk fit the bill, extending cur during production. That’s why, he director, Peele observed “the illusion I and a filmmaker has to serve in many him into different realms—a true story, explained, that his preference is to do like to present to actors is that we have capacities. In that vein, del Toro said he’s and logistically dealing with boats and “as much in-camera as possible.” Com- all the time in the world.” “good at comforting” and “confronta- how to best capture the experience at puter-generated imagery, he pointed out, Peele’s approach to Get Out was pow- tion” depending on whatever the situa- sea on film. doesn’t typically have the flexibility to ac- ered in part by dealing with all the inevi- tion calls for. Casting also presented a different expe- commodate such serendipity. table, unexpected “curveballs” thrown at rience from what had been the star mar- Immersing himself in the Dunkirk sto- him during the course of production as if Christopher Nolan quee actor norm for Nolan. For Dunkirk, ry which unfolded in 1940 proved to be they were welcomed “gifts.” For what’s believed to be the first time, he found himself instead looking for “un- a learning experience that went beyond Budgetary limitations often fostered all five DGA nominees also wrote the knowns in the leads,” portraying the 18 just the event itself. It showed Nolan that such “gifts” as reflected in a party scene screenplays for the movies that earned and 19-year olds who were in battle. As for like many people he had “an inadequate where Peele would have liked 40 people them Guild nods. Nolan penned a script what he sought on the acting front, Nolan grasp of history and its importance.” He is in the background to create the desired for Dunkirk that was about half the said performers who could visually elicit now striving to address this, not so much vibe for the story. length of what he normally would write “the mysterious quality of empathy.” He as a filmmaker but personally to become But Peele learned that instead he for a feature. An economical 76 pages needed “a kid you need to care about,” a more informed person who better un- would have to make do with 16 or so contained “mostly stage direction and someone an audience could relate to even derstands the past, its significance and backgrounders. This prompted him to very little dialogue,” he said. though that character doesn’t talk a lot in the implications it carries relative to the place the performers in the scene in a This also marked the first feature for the movie. present and the future. choreographed fashion which wound up Nolan depicting a true historical story, Also in the mix was an accomplished When presented with his nomination feeling “creepy” and “eerie,” promoting which necessitated him spending time up actor, Mark Rylance, whom Nolan had medallion at the evening DGA Awards an uneasiness that wound up comple- front in the actual filming locations, in- wanted to work with for decades.