GET TO TO CONNECTED Directors 23 & Cameras 20 & Cameras Chat Room 31 Chat Up-and-Coming Chat Room 4 Chat Hot Locations 14 Locations Hot

www.SHOOTonline.com October/November 2019 4 Bong Joon Ho Nisha Ganatra Marielle Heller Top Ten VFX & Animation Chart 29 VFX & Animation Ten Top 10 Fall 2019 Series Robert Eggers ECT DIR ORS THE ROAD TO OSCAR THE ROAD Lulu Wang Lulu Dan Krauss Chinonye Chukwu Chinonye Top Ten Music Tracks Chart 28 Tracks Music Ten Top FOR YOUR CONSIDERATION OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM NOAH BAUMBACH

“NOAH BAUMBACH’S MASTERLY NEW FILM IS HIS BEST YET. This is the work of a fi lmmaker in full command of his powers.”

Full Page Ad

NETFLIXGUILDS.COM

SHOOT MAGAZINE, COVER 2 ISSUE: ROAD TO OSCAR FEATURE : MARRIAGE STORY PUB DATE: 10/28/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” FOR YOUR CONSIDERATION OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM Perspectives The Leading Publication For Film, TV NOAH BAUMBACH & Commercial Production and Post October/November 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 5 www.SHOOTonline.com “ EDITORIAL NOAH BAUMBACH’S MASTERLY NEW FILM IS HIS BEST YET. Publisher & Editorial Director A Story’s Impact Roberta Griefer This is the work of a fi lmmaker in full command of his powers.” 203.227.1699 ext. 701 [email protected] Editor THE HOLLYWOOD REPORTER Robert Goldrich While it may sound As for the impact on Chukwu, she de- kids’ series Mr. Rogers’ Neighborhood. 203.227.1699 ext 702 [email protected] cliché, never underes- scribed the years she spent researching, Asked to reflect on what her biggest ADVERTISING timate the impact of a writing and making Clemency as “a soul- takeaway has been from A Beautiful Day Digital & Print Rates & Information [email protected] story on the storyteller. enriching, transformative experience. My in the Neighborhood, Heller shared, “The 203.227.1699 ext. 701 www.shootonline.com/go/advertise As we enter the current awards season, capacity for empathy and compassion, impact on my life has been greater than Advertising Production much is made of how a film resonates with my understanding of justice and mercy the impact on my work. Living with the Gerald Giannone [email protected] an audience. But there’s also a profound have expanded exponentially. This really message of love in my head 203.227.1699 ext. 700 influence being felt by those who bring challenged me in every aspect of my life. for this long has been a gift, a reminder to OFFICES us the story, a common thread which runs It taught me not to define people by their stay patient, present and honest. It’s made Main Office 606 Post Road East #650 through many of the Westport, CT 06880 USA 203.227.1699 Fax: 203.571.3355 profiles in this issue’s "Screenwriting is empathy. Directing is empathizing with char- West Directors Series. 203.227.1699 ext 702 acters and pulling out their humanity." --Chinonye Chukwu For example, writ- Print Production er-director Chinonye Chukwu reflected worst possible acts. It helped me to be a me a better mom, hopefully a better leader Jim Theodorou [email protected] on Clemency (Neon), winner of the Grand better writer and director. Screenwriting of the ship when it comes to being a direc- Circulation Jury Award in the U.S. Dramatic competi- is empathy. Directing is empathizing with tor, more conscientious. I’ve always tried to 203.227.1699 ext 4 [email protected] tion at this year’s . characters and pulling out their humanity. be conscientious but now I’m more aware SHOOT Publicity Wire 203.227.1699 ext 700 [email protected] The film looks at capital punishment from This work also taught me to have compas- of what’s important and what’s not. It © 2019 DCA Business Media LLC. All rights reserved. a different perspective--that of the people sion for myself.” helped put life into perspective. Last year I SHOOT and SHOOTonline are registered U.S. trademarks. who are sanctioned to carry out an ex- Similarly director Marielle Heller has was going through awards campaigns (for No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, ecution, most notably in this film a prison been inspired by her soon-to-be-released Can You Ever Forgive Me?) as I was in the electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. warden portrayed by Alfre Woodard. We A Beautiful Day in the Neighborhood process of this Mr. Rogers movie. Anytime Print Issues Subscription Service [email protected] see how the psyche, personal life and spirit (Sony Pictures) starring as ego would rear its ugly head, I could fall Find PDF Versions of Woodard’s character is impacted. Fred Rogers, the beloved host of the PBS back on Mr. Rogers’ Neighborhood.” and order issues backissues.SHOOTonline.com

SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for members by DCA Business Media LLC, 606 POV By Steven Holleran Post Road East, #650, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 USPS (06-234) Read Before Rolling SHOOT ePubs The SHOOT >e.dition weekly ePub is published on Friday. The SHOOT Dailies are published daily Mon.-Fri. Capturing “the per- tion? West Virginia Amish country. This seconds. In a conflagration of hell fire, I Brand New[s] weekly ePub is published Wednesdays. SHOOT Screenwork published Mondays. fect shot” is a danger- was an off-the-books shoot to Skatetopia, finally had my answer. Chasing the perfect www.shootonline.com/subscribe ous quest. High-speed a nihilistic skateboard commune. First shot--was going to kill me. chases, heavy machin- visual? Naked bodies orgying in the mud. Why go to such lengths for the cause SHOOT is printed in the U.S.A. ery, and enough high voltage electricity Then a dog ran by, a firecracker tied to its of capturing a perfect shot? The answer is to fry a city block aside, there’s plenty of tail as an old car exploded into flames. that the quest for the perfect shot makes pitfalls. The biggest enemy? It’s the lure of Out of nowhere, kids in tree houses you a modern day explorer. With a camera the immortal image. The Sir Galahad-like yelled “Shoot the camera!” and roman in hand, the world is an open book. It’s desire to get the ideal shot pushes many to candles zipped towards us. For a mo- the opportunity to create a transcendent SHOOT is a member of: immerse the camera and themselves into ment I laughed. I was shooting them and image that can help thousands, even mil- some of the darkest situations. I would they were shooting me. Then a beer can lions see a new perspective. For all the know. I’ve almost lost my life for a nirva- clocked me in the jaw. Spitting blood, a chaos behind the lens, the stories told na-worthy shot. Here’s a dissection of my familiar question bubbled up. “What was through them far outweighs it. It’s how Follow SHOOT via hashtag #SHOOTONLINE at: near misses and why, despite the dangers, the cost of the perfect shot?” On Netflix’s humankind still communicates. We reflect I’m still shooting. doc-series , I got my answer. on the unknown, and then we shoot and First up? Cleveland’s Puerto Rican fes- Trapped in a California ravine facing we share. Through that process we make tival. Helming my debut feature, I climbed the steamrolling front of the Blue Cut more sense of a mysterious world and per- Cover photo credits for The Road To Oscar (l-r): Jojo Rabbit the platform of a carnival carousel for wildfire, towering flames smoked across haps a better place. And that my friend, is DP Mihai Malaimare, Fox Searchlight; Rupert Goold (l) and Renee Zellweger on the set of Judy, photo by David slo-mo shots. Before I could roll, a gang our safety zone. The sneak attack fire worth the price. Dangerous or not, that’s Hindley/LD Entertainment, Roadside Attractions; The Two charged the crowd. Guns appeared and encircled us in a pig pen. Visibility crept why I keep chasing the perfect shot. Popes DP Cesar Charlone, Netflix. Cinematographers & Cameras: DP Natasha Braier (l) and Alma Har'el on Honey shots rang out. Panic set in and instead of down to a few inches and breathable oxy- DP Steven Holleran's credits include Boy, Amazon Studios. Up-and-Coming Dirs. (l-r) Tom Cruise, Glenn Clements & James Corden, photo by Terence shooting a movie, we were in one. Next gen disappeared. We peered helplessly as The Obituary of Tunde Johnson which re- Patrick. Chat Room: The Report, Amazon Studios. obstacle on this quest for visual perfec- our nearby production vehicle melted in cently premiered at the Toronto Film Fest. NETFLIXGUILDS.COM October/November 2019 SHOOT 3

SHOOT MAGAZINE, COVER 2 ISSUE: ROAD TO OSCAR FEATURE NETFLIX: MARRIAGE STORY PUB DATE: 10/28/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” ROAD TO OSCAR “COLORFUL AND EXTRAVAGANT TO BEHOLD” JUSTIN CHANG, TIMES Director, DP, POVs Insights into Judy, The Two Popes, Ford v Ferrari, Jojo Rabbit, Once

Upon a Time...in Hindley/courtesy David by Photo of LD Entertainment & Roadside Attractions Photo courtesyPhoto of Netflix

Hollywood Hindley/courtesy David by Photo of Roadside Attractions By Robert Goldrich, The Road To Oscar Series, Part 2 Photo courtesy of Fox Searchlight courtesyPhoto of Fox Photo Kimberley of 20th CenturyPhoto French/courtesy Fox courtesyPhoto of Sony-Columbia Pictures

All the world’s a stage. And director Ru- end of her life in 1969. It’s at a juncture become a brittle adulthood. pert Goold knows his way around a stage when Garland is in dire personal and pro- But the constant from both eras is Gar- for varied pursuits. He is artistic direc- fessional straits, has health issues, can’t land’s desire to lead a normal life. While tor of the Almeida Theatre in London, get a good paying gig in the U.S. and is her childhood was lost, Garland as an served in the same capacity at the U.K.’s struggling with her third ex-husband adult fights to keep her children, to be Headlong Theatre and Northampton Sid Luft over custody of their children a mom. It’s this chance to do empathetic Theatres, as well as associate director at for whom she can’t suitably provide. Her justice to Garland that motivated Goold. the Royal Shakespeare Company. For his only viable alternative is London where When first approached by producer Da- work on stage in live theatre, Goold is a she is still revered, and can make major vid Livingstone to possibly direct the two-time recipient of the Olivier, Critics’ coin with a running engagement of live film, Goold didn’t immediately come TCircle and Evening Standard awards for performances before sold-out crowds at on board. He didn’t consider himself an Best Director. He has directed revivals, The Talk of the Town theater. adoring fan of Garland but he started to From top left, clockwise: Rupert opera, musicals, new plays, farce, panto- Goold takes us on-stage where Garland embrace the project when he met and Goold (l) and Renée Zellweger on mime, comedy--and Shakespeare fare for both fails and triumphs, while also going felt an affinity for both Livingston and the set of Judy; Renée Zellweger TV, including Richard II (for BBC’s The back in time to the hallowed soundstages Tom Edge. Perhaps not hav- as Judy Garland in Judy; DP Cesar Hollow Crown) and Macbeth (for PBS’ of MGM where Garland as a 16-year-old ing a predisposed allegiance to Garland FOR YOUR CONSIDERATION Charlone (seated) on set of The Two Great Performances). Goold made his star is cruelly manipulated in the Holly- was an advantage for Goold who dis- Popes; DP Phedon Papamichael feature film directorial debut with True wood studio system. covered a character worthy of empathy- (center) flanked by Matt Damon Story, starring James Franco and Jonah But Goold’s work goes beyond live -and came upon what he regarded as “a (l) and Christian Bale on the set of Hill, for Plan B and Fox Searchlight, a on-stage performances and the Metro golden opportunity to make a film with a Ford v Ferrari; Once Upon a Time... 2015 release. soundstages--it portrays two distinct stag- female protagonist.” in Hollywood production designer Now Goold’s second feature, Judy es of Garland’s life, some 30 years apart For Livingston and Goold, Zellweger Barbara Ling; Taika Waititi (l) and (Roadside Attractions), finds itself center- as her past informs her present. We see, was the clear choice to portray Garland, Roman Griffin Davis in Jojo Rabbit; stage, surrounded by Oscar buzz, head- for example, the studio putting a young citing the actress’ dedication to craft as BEST GEORGE RICHMOND, BSC Mihai Malaimare Jr., cinematogra- lined by Renée Zellweger’s tour de force Garland on pills to control her, starting an well as her dramatic (an Oscar for Cold pher on Jojo Rabbit. performance as Judy Garland towards the addiction that carries through to what’s Continued on page 6 4 SHOOT October/November 2019

SHOOT MAGAZINE - FINAL MATERIALS DUE: MONDAY, 10/21 OCT/NOV ISSUE THIS AD RUNS: FRIDAY, 10/25 BLEED: 9.25”W X 11.125”H TRIM: 9”W X 10.875”H SAFETY: 8.5”W X 10.375”H A 5191-5 10/17/19 150 LINE SCREEN, 300 DPI, PDF/X-1a:2001 RM_Shoot_1025_4CFP_1F “COLORFUL AND EXTRAVAGANT TO BEHOLD” JUSTIN CHANG,

Full Page Ad

FOR YOUR CONSIDERATION

BEST CINEMATOGRAPHY GEORGE RICHMOND, BSC

SHOOT MAGAZINE - FINAL MATERIALS DUE: MONDAY, 10/21 OCT/NOV ISSUE THIS AD RUNS: FRIDAY, 10/25 BLEED: 9.25”W X 11.125”H TRIM: 9”W X 10.875”H SAFETY: 8.5”W X 10.375”H A 5191-5 10/17/19 150 LINE SCREEN, 300 DPI, PDF/X-1a:2001 RM_Shoot_1025_4CFP_1F ROAD TO OSCAR Ceasar Charlone Lenses Fernando Mereilles' The Two Popes Continued from page 4 eral films, including City of God, which ship, collaboration and compromise be- who enjoyed the give-and-take between Mountain) and comedic chops--the lat- earned each an Oscar nomination in his tween them.” himself and the art ensemble headed by ter important for Garland’s brand of respective discipline in 2004. Then came a meeting of minds be- Tildesley. This served to further fortify often hilarious, self-deprecating humor. It thus seems apropos that The Two tween director and DP as to the best ap- a rapport the two had established most Zellweger took on Garland’s physicality, Popes is now generating Oscar buzz. The proach to creating the look of the film. notably on Mereilles’ The Constant Gar- musicality and vulnerability. Goold said dener. Tildesley was nominated for an Art that vulnerable quality--enabling view- Directors Guild Excellence in Production ers to access someone’s emotion and Design Award for The Constant Gardener humanity--has been a long-time Zellwe- in 2006. ger attribute, pointing to her work in the Charlone opted for the RED 8K cam- role of Bridget Jones, allowing audiences era to shoot The Two Popes, using 16mm to deeply relate to that character. lenses which helped bring the Red sen- For Goold, the biggest casting hurdle sor down to in effect the 4K delivery was finding the actress to portray Garland mandated by Netflix. He also went mostly as a child. “That was what I really wor- handheld, lensing the action in a realis- ried about,” related Goold, adding that tic fashion. “I didn’t want it to look like in some respects the younger Judy is bet- fiction. I wanted a touch of documentary ter known than the older Judy given the so you would believe this was all happen- legacy of The Wizard of Oz. Goold felt ing,” he explained. he had two central characters--Judy as a At the same time Charlone confessed

child and as an adult--and both perfor- Mountain/courtesy of Netflix Peter by Photo to being “ashamed to move the cam- mances had to be unerringly believable Anthony Hopkins (l) and Jonathan Pryce in The Two Popes era” at times because the performances in order for the story to work. Academy Award pedigree of its key con- Charlone had the contrarian idea of using of Hopkins and Pryce were so stellar. “I “I saw hundreds and hundreds of tributors extends beyond Mereilles and the Sistine Chapel’s famed frescoes as a wanted to be flat on them, having them tapes,” recalled Goold of his search for Charlone to screenwriter Anthony Mc- lighting reference for The Two Popes. Mi- fill a hundred percent of the screen.” the young Garland, and then finally he Carten, a three-time Oscar nominee--first chelangelo’s low contrast, soft tones and Charlone observed that seeing the ac- found one to be “spellbinding”--that of in 2015 for his penning of The Theory of color palette make for a shadowless, flat, tors work, prepare and then deliver was 15-year-old Darci Shaw. “She came in Everything, which as a producer also gar- elegant look that’s quite a departure from “the biggest present.” Noting that his three times,” noted Goold, adding that nered him a Best Picture nod, and then the typical deployment of bright light father was a theater director, Charlone “when she dropped into character, she in 2018 for writing Darkest Hour. Fur- shining through church windows and shared that he very much appreciates act- had this huge soulfulness.” Goold in thermore, actor Anthony Hopkins, who rich, high contrast oil paintings as a frame ing and working with actors. particular saw that soulfulness on screen stars in The Two Popes as Pope Benedict of reference. Actors are instead front and The DP said he was profoundly im- when Garland as a youngster met with (Cardinal Joseph Ratzinger), is a four- center, not obscured by shadows, seem- pacted by Hopkins and Pryce, relat- MGM chieftain Louis B. Mayer--and in time Academy Award nominee, winning ingly a part of this world because it’s all ing, “When I started the project, I had the scene when she defied orders in a fit for The Silence of the Lambs back in 1992. lit like a fresco. a prejudice about Ratzinger. Hopkins’ of fun and whimsy, diving into a swim- The Two Popes takes us behind Vati- Driving Charlone and Mereilles in this performance was so enlightening that it ming pool. Shaw’s performance was a can walls where the conservative Pope direction was their desire to give The changed my view. The same for Jonathan critical building block to the story, creat- Benedict and liberal Argentine Cardinal Two Popes a slight documentary tinge (Pryce). I had a stereotyped view of that ing a character who is “innately sympa- Jorge Bergoglio, the future Pope Francis and feel. They felt the typical approach- Pope. Jonathan showed me another side, thetic” so that audiences can “really con- (portrayed by Jonathan Pryce), come to- -using shafts of light with smoke, often a deeper humanity in him.” nect with her emotional plight.” gether to forge a new path for the Catho- adopted to romanticize and glamorize Of course also contributing signifi- Goold himself connected more deeply lic Church. church scenes--lacked the authenticity cantly to that depth was McCarten’s me- with moviemaking thanks to Judy. “I Charlone said he usually begins his needed for The Two Popes. The reality is ticulously researched and crafted writing. loved making this film. It was in a box process with Mereilles by finding out why that church windows are tinted, meaning “It’s great when you have a script like for a while, waiting to come out. Feeling the director wants to do the film they’re that the sun doesn’t come in too harsh, that,” affirmed Charlone. “When the the warmth, the variety of richness of the about to start working on. In this case noted Charlone who also dovetailed with clock rings at 4 am, I was so happy, know- responses has been gratifying. It can take it was the special relationship between production designer Mark Tildesley to ing I was going to soon see something two to three years of your life to make a the two Popes and its continued societal make sure the sets and environments beautiful.” movie so you have to pursue something relevance particularly in light of today’s constructed would be conducive to the Beyond The Two Popes and The Con- worthwhile. We made Judy. We care divisive times. fresco-inspired lensing. stant Gardener, Charlone’s work with about her.” Charlone described Mereilles as “a hu- Initially Charlone had an office in Mereilles also includes Blindness for manistic militant” who loved McCarten’s close proximity to that of Mereilles. But which the DP received a Silver Frog at César Charlone script because it was about “building the requested that he Camerimage. He additionally is a Golden The Two Popes (Netflix) continues a bridges instead of walls. This film is about instead have a desk in the art depart- Frog winner for The Constant Gardener. collaborative relationship between direc- two men who at the beginning are com- ment. He wound up in Tildesley’s office. More recently, Charlone worked on tor Fernando Mereilles and cinematog- plete opposites in terms of their views. “Every shooting test we did I would share Doug Liman’s American Made starring rapher César Charlone that spans sev- But at the end there’s a feeling of friend- with the art department,” said Charlone Continued on page 8 6 SHOOT October/November 2019 FOR YOUR CONSIDERATION OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM FERNANDO MEIRELLES

“AN UNDENIABLE TRIUMPH. DIRECTOR FERNANDO MEIRELLES MAY HAVE TAPPED INTO Full Page HIS MOST PERSONALAd AND EMPHATIC PIECE TO DATE.”

NETFLIXGUILDS.COM

SHOOT MAGAZINE ISSUE: ROAD TO OSCAR FEATURE NETFLIX: THE TWO POPES PUB DATE: 10/28/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” ROAD TO OSCAR DPs Share Insights Into Shooting Ford v. Ferrari, Jojo Rabbit Continued from page 6 heroes, “about two 40-year-old guys pur- I’ll say ‘pan a bit left, don’t center so proximity of the camera to the perfor- Tom Cruise, in addition to several fea- suing their dreams, It’s a friendship mov- much’ and Mangold will say the same mance creates a different involvement ture length documentaries, such as Red ie with a few visual effects in it. It’s not a thing. It’s almost worrisome how we’ve for the audience--we did that with Chris- Trees, Unseen Enemy, No Place on Earth, visual effects movie. It’s an adult drama become this one voice. People are often tian Bale and his car (in Ford v Ferrari). Stranded, and 2 Billion Hearts, where which is a dying breed of Hollywood film- shocked by it.” You can feel the vibration of the cabin Charlone led a team of 22 DPs. Besides making, which connects me to Mangold. For Ford v Ferrari, Papamichael gravi- as we embraced old school technology, serving as a cinematographer, Charlone Classic Hollywood filmmaking, labeled at tated to the ARRI Alexa LF (large format) hard-mounting cameras to the chassis. has worked as a director and showrun- times as old fashioned, is something we camera and anamorphic lenses, captur- In combination with sound design and ner for 3%, the first Netflix original series both embrace and admire.” ing the beauty and speed of the cars and audio mix, cutting in and out, we created produced entirely in Brazil. He also di- Of his relationship with Mangold, the frantic backdrop of the tracks and pit a racer’s point of view, intimate and close rected one of his native Uruguay’s most Papamichael said, “We’re like brothers, stops, reminiscent in some respects of to the action, capturing what’s exciting acclaimed films, The Pope’s Toilet, which the same age more or less, with similar classic racing movies such as Grand Prix about racing.” was selected by that country as its official influences growing up--European cin- and Le Mans. He wanted to go with vin- But all this is moot, noted Papami- submission for the Best Foreign Lan- ema, Japanese films. He’s a very unique tage period correct C lenses chael, without the human dynamic. guage Film Oscar some 12 years ago. combination of being an independent but hesitated because that glass didn’t “It’s a Butch Cassidy and the Sundance filmmaker who understands that way of fully cover the Alexa lens sensor. Howev- Kid kind of friendship story, with classic Phedon Papamichael, ASC, GSC filmmaking but can function financially er Papamichael turned to lens guru Dan offbeat characters who don’t fit in, fight- Phedon Papamichael, ASC, GSC en- and successfully within the Hollywood Sasaki at Panavision who expanded the ing the bureaucracy and paper pushers, joys a special bond with select filmmak- system. In terms of film language, it’s al- vintage lenses to cover the larger sensor- coming up against all kinds of hurdles ers. For example, he’s shot four films for most scary how we see things in a very -he accomplished the feat in two weeks, along the way. No matter how great the director Alexander Payne: Sideways, The similar way. He writes and is very elo- just in time for the start of shooting. “We car work, the car chases, you only con- Descendants, Nebraska and Downsizing. quent directing actors. He also has an ex- went into production with the prototype nect to the audience if they care for your For his gorgeous black-and-white lensing tremely astute eye for the camera, which first-time expanded anamorphic C Series main characters. Action on its own means and the more modern T Series,” related nothing if you don’t care a darn about the Papamichael. people. Action becomes meaningless no Sasaki’s work “took sharpness off the matter how well executed. Mangold as an T series, making it more similar to older actors’ director understands that.” glass,” assessed Papamichael. “With digi- tal cameras and sensors becoming bigger, Mihai Malaimare Jr. everything is pushing towards sharper Jojo Rabbit marked the first time cine- images--4K, 6K, 8K. No one wants to matographer Mihai Malaimare Jr. worked look at an actor’s face at 8K anyway. The with Taika Waititi, who wrote, directed C’s are older glass and gave us a look we and starred in the film--which last month wanted. The T’s, though, gave us the add- won the People’s Choice Award at the ed advantage of closer focus capability. Toronto International Film Festival. The You can shoot close up with a wider lens honor is viewed as an early harbinger of while being physically close. We get wide what’s to come in Hollywood’s awards and physically closer. Psychologically you season. Every Toronto Audience award

Photo by Merrick by Photo Morton/courtesy of 20th Century Fox feel it as being close to the action.” winner in the past decade has scored Christian Bale in director James Mangold's Ford v Ferrari Papamichael continued that this close- a Best Picture Oscar nomination. Last of Nebraska, Papamichael earned Oscar, is a rare combination.” ness helps to express “the sense of speed, year’s Audience winner Green Book went BAFTA and ASC Award nominations, Papamichael has distinctly differ- danger, the claustrophobic concept of sit- on to take the Academy Award for Best among other honors. ent methods of operation with Payne as ting in a little box that has an enormous Picture, continuing a tradition which saw Similarly Papamichael has a special compared to Mangold. For the former, powerful engine strapped to it, trying to such films as 12 Years a Slave, The King’s bond with director James Mangold, Papamichael explained, “Normally I like convey what it must be like to put your life Speech and Slumdog Millionaire win the which spans five full films--Identity, Walk to operate the camera. Alexander is often on the line every time you go out there in Toronto honor and then the coveted Best the Line, 3:10 to Yuma, Knight and Day, next to me. There’s no video assist tent or a race car--kind of similar to The Right Picture Oscar. and Ford v Ferrari--and a portion of an- DIT village. It’s an intimate small trian- Stuff, with astronauts in a little capsule.” Malaimare found Waititi to be an ideal other, the end sequence of Logan. gle--actor, director and cameraman.” Papamichael sees a parallel between Ford collaborator, open-mindedly teaming Set for a November release, Ford v Fer- By contrast, Papamichael’s norm with v Ferrari and his work on Walk the Line with him, production designer Ra Vin- rari (20th Century Fox) chronicles the multiple-camera, big scale Mangold films with Mangold. “We wanted the audience cent and costume designer Mayes Rubeo efforts of an automotive designer (Matt is “to sit with him by the monitors, com- to feel what it’s like to be on stage with to create the look and tone of Jojo Rabbit. Damon) and a race car driver (Christian municating with the crew through little Johnny Cash (in Walk the Line). We didn’t Vincent and Rubeo were already keenly Bale) to build a Ford that could best Fer- headsets. Even during a take, as I’m say- do a closeup from the audience view with aware of Waititi’s deeply collaborative rari at the Le Mans 24-hour race in 1966. ing ‘start pushing in,’ Mangold is at the a longer lens. Instead we were up there spirit, having earlier contributed their tal- Papamichael described Ford v Ferrari same time yelling over at me to slowly on stage with a wide angle lens, two feet ents to the filmmaker’s projects, includ- as a $100 million-plus movie, sans super- push in. We’re on the same wavelength. away from the performer. The physical Continued on page 27 8 SHOOT October/November 2019 Full Page Ad Short Takes DIRECTORS LOBO’S SHORTS CELEBRATE PENN STATE INNOVATION Creative design, animation and Welcome to the Special Fall 2019 Edition of the mixed media studio LOBO pro- SHOOT Directors Series. Our mix of pro les includes Marielle Heller motes Penn State’s research who directed two Academy Award-nominated performances this year by Melissa McCarthy and Richard E. Grant in Can You Ever and achievements in a pair of Forgive Me?, and is now generating Oscar buzz for the soon-to-be animated campaign videos for released A Beautiful Day in the Neighborhood starring Tom Hanks the university, out of agency as Fred Rogers. Decoded Advertising. The two Also in the awards season conversation are such SHOOT pro le subjects as: Bong Joon spots feature visually vibrant and Ho for the feature Parasite, which won the Palme d’Or at the Cannes Film Festival back painterly animations champion- in May and is South Korea’s recently announced entry for the best international feature ing pollinator research and successful healthcare innovation, born from the lm Oscar; Lulu Wang who made a major splash at the Sundance Film Festival with The Farewell starring Awkwa na; Robert Eggers for the acclaimed The Lighthouse starring minds of real-world Penn State students and faculty featured in live action at and ; and Chinonye Chukwu whose Clemency won the the end of each short. Grand Jury Award in the U.S. Dramatic Competition at Sundance this year. LOBO’s Guilherme Marconde directed the two spots titled “Christine Groz- inger” and “Shevy Karbasi.” Already a two-time Oscar nominee for his documentary short fare, director Dan Krauss discusses 5B, his feature-length documentary which premiered at the Cannes Film Festival only to go on the next month to win the Entertainment Lions Grand Prix at the ASC PRESENTS STUDENT HERITAGE AWARDS Cannes International Festival of Creativity. 5B is a breakthrough piece of branded content The American Society of Cinematographers revealed this year’s Student from Johnson & Johnson that Krauss directed through Saville Productions, which reps him for commercials and branded entertainment. Named after San Francisco General Heritage Award winners at an event at the ASC Clubhouse in Hollywood ear- Hospital’s ward 5B which opened in 1983 as the rst full- edged hospital unit dedicated lier this month. Three student lmmakers were chosen from 12 nominees for to treating people with AIDS, the documentary shows the positive power of nursing, demonstrating exceptional cinematography skills in their submitted work. continuing a theme which Johnson & Johnson has championed over the years. Lucas Dziedzic from the American Film Institute won the Richard H. Kline Rounding out SHOOT’s lineup of pro les is Nisha Ganatra who’s looking to make a mark Student Heritage Award in the Graduate category for Animals. for women comedy directors in the ad arena through Chelsea Pictures. Her distinctive Oscar Ignacio Jimenez from Brigham Young University won the Richard H. brand of humor has been re ected in Golden Globe-winning and Emmy-nominated Kline Student Heritage Award in the Undergraduate category for Gather. work on Transparent, as well as the feature Late Night which earned a standing ovation Jazleana Jones from Florida State University won the Haskell Wexler Stu- and rave reviews at the Sundance Film Festival. Late Night also fetched $13 million from Amazon, the highest price ever paid at Sundance for a lm by a female director. dent Documentary Award for King, Charles.” Designed to encourage and support a new generation, the ASC Stu- Meanwhile our ensemble of up-and-coming talent consists of a lmmaker whose short dent Heritage Awards also celebrate the memory of an ASC member. This won an Oscar this year, yielding a connection with a production company for her rst commercial and branded content representation; a directorial duo who made an auspi- year’s Undergraduate and Graduate Award was named in honor of Oscar®- cious feature debut and then subsequently landed at a prominent production company nominee Richard H. Kline, ASC (Camelot, King Kong). The Documentary cat- to explore opportunities in the ad space; a director who scored impressively with his egory is dedicated to multi Oscar®-winner Haskell Wexler, ASC (Who’s Afraid body of work at HBO’s Last Week Tonight With John Oliver, which caught the attention of of Virginia Woolf?, Bound for Glory). a production house now handling him for commercials and branded fare; and a comedy- driven talent who this year became a DGA Award nominee Numerous past ASC Student Heritage award recipients have gone on to and garnered a roster slot at his rst roost for ad projects. successful careers in lmmaking and several are now ASC members them- selves, including Nelson Cragg, Masanobu Takayanagi, and Lisa Wiegand. And then in our Cinematographers & Cameras Series, we meet three DPs--one who re ected on a fruitful collaboration with director Alma Har’el on the feature PEOPLE ON THE MOVE.... Honey Boy; another who was drawn to the prospect Jackman Reinvents, a Toronto-based rm involved in the transformation of lensing an old-school cop movie, adding to a of company brands, value proposition and customer experience, has pro- recent  urry of work which marked his return to HBO’s Westworld--not just as a DP but for the rst moted Bev Vaters to VP, creative studio, Mike Kasprow to VP, communications time as an episodic director; and a lenser who practice, Marcelo Ceron to VP, brand strategy, and Alexandra Swiech to sr. di- reunited with director Andy Muschietti to turn rector, people development. Additionally, Mladen Svigir, VP, engagements, out the much-anticipated It: Chapter Two. will lead business development growth strategies. In terms of new hires, Our feature stories and several of the pro- Brett Donald takes on the role of VP, strategy activation. Donald is a brand les have been edited for the print issue. All and consumer marketing veteran with a proven track record of growth and these stories can be seen in their entirety in our —Robert Goldrich innovation at global brands like Tim Hortons, 10/28 Special Directors SHOOT>e.dition and on Editor SHOOTonline. So read on and enjoy. Hershey, and Procter & Gamble. Another key [email protected] hire for Jackman is Tammy Van Eck, who joins as VP, people development. Van Eck brings ex- Director Profiles Features tensive expertise in strategic and innovative Chinonye Chukwu...... 11 Cinematographers & Cameras HR programs, recruitment, and talent devel- Robert Eggers...... 12 Lensing Honey Boy, 21 Bridges, It: Chapter opment, having previously held senior posi- Nisha Ganatra...... 14 Two...... 20 tions at Loblaw Companies Limited, Shoppers Marielle Heller...... 15 Drug Mart, Bell Canada, and more. At Jack- Bong Joon Ho...... 16 Up-and-Coming Directors Bev Vaters man, she’ll develop and lead new strategies Dan Krauss...... 16 Promising, already accomplished helmers to support employees’ growth and ful llment.....Alberto Botero has joined Lulu Wang...... 17 extend their reach into the ad world...... 23 Rauxa as SVP, data intelligence. Botero comes over from TBWA where he was head of analytics and data science....

10 SHOOT October/November 2019 DIRECTORS Chinonye Chukwu Pens to Pictures

By Robert Goldrich the grounds of the prisoner’s potential Her experience not only yielded the Writer-director Chinonye Chukwu be- innocence but the psychological conse- crafting of a nuanced, informed script for came part of the Oscar season buzz when quences on a prison staff sanctioned to Clemency, but also her founding a fiction her Clemency (Neon) won the Grand Jury kill him. So many of us were feeling an- filmmaking curriculum in a women’s Award in the U.S. Dramatic Competition ger, frustration and sadness that I thought prison in Dayton, Ohio. Called Pens to at this year’s Sundance Film Festival. what must it be like for those who had to Pictures, the year-long course teaches Featuring a compelling performance by execute him. What must it mean for your and empowers incarcerated women to doesn’t work, it doesn’t work. Phyllis, I Alfre Woodard as prison warden Berna- livelihood to be tied to the taking of hu- make their own short films, from script think, was pleasantly surprised by that.” dine Williams, Clemency puts a different man life?” to screen. These first-time filmmakers perspective on capital punishment. We This plunged Chukwu into an odyssey have since been released from prison and Lessons learned see that years of carrying out death row of several years thoroughly researching Chukwu is working with them to help Chukwu described the years spent on executions have taken a profound toll the prison system, capital punishment, bring the program to others. Clemency as “a soul-enriching, transfor- on Williams. An emotional distance, if modes of execution, interviewing retired As for bringing Clemency to audi- mative experience. My capacity for em- not outright blockage, has jeopardized wardens as well as lawyers, corrections ences, Chukwu assembled a team of col- pathy and compassion, my understand- her marriage. Memories of a recently officials and incarcerated people. She laborators, including cinematographer ing of justice and mercy have expanded botched execution haunt her daily. As moved from New York, where there’s no Eric Branco and editor Phyllis Housen. exponentially. This really challenged me she prepares to execute another inmate, death penalty, to Ohio, where there is. Chukwu already had a working relation- in every aspect of my life. It taught me not Williams is forced to confront the psycho- She continued her work as a film teacher ship with Branco; the two teamed on to define people by their worst possible logical and emotional demons inherent at the University of Ohio while research- The Long Walk, a short film written and acts. It helped me to be a better writer in her job. ing the subject matter. In Ohio she also directed by Chukwu. “While working on and director. Screenwriting is empathy. Chukwu’s inspiration for the film volunteered on a total of 14 clemency that short, I told Eric about Clemency. He Directing is empathizing with characters came in September 2011 when an Afri- cases for nonprofit legal organizations, is so talented and we developed a great and pulling out their humanity. This can-American man, Troy Davis, was ex- helping with media strategy, shooting working relationship. For one, he knows work also taught me to have compassion ecuted in a Georgia prison. “Hundreds video testimonies that played at clemency how to light and make black people look for myself.” of thousands around the world protested, hearings or that were enclosed with clem- good on film. But most importantly, he is Beyond Clemency and The Long Walk, including a handful of retired wardens ency petitions. a leader on set who embodies a level of Chukwu’s body of work includes The and directors of correction,” recalled “I went into this knowing pretty much joy and positivity even amid the obstacles Dance Lesson, a regional finalist for the Chukwu. “They wrote a letter to the gov- nothing. I didn’t know about the prison that are bound to happen, especially on a 2010 Student Academy Award, and her ernor pleading for clemency not just on system, even the difference between jail film as intense and serious as Clemency. debut feature, alaskaLand, which was and prison. I didn’t know who was respon- He brings light and energy to the set.” screened at the Chicago International sible for carrying out lethal injections. So Regarding Housen, Clemency marked Film Festival and the New York African I sought out answers. I immersed myself the first time Chukwu had worked with Fest. She also recently directed an episode emotionally and psychologically in the the editor. “We got along really well, even of the Facebook Watch TV/streaming characters in this world,” related Chukwu managing to laugh during the process,” series Sorry for Your Loss. As for what’s whose overall research for the film took recalled Chukwu. “I’m not protective of next, Chukwu is embarking on the fea- four years. “This process was the only way anything in postproduction. It’s all always ture A Taste of Power, based on the mem-

Photo by Paul Sarkis/courtesy Paul by Photo of Neon I could enable myself to tell this story as in service of the film and the story. I don’t oir of Elaine Brown, the first and only Alfre Woodard in Clemency honestly and ethically as possible.” hold onto an amazing gorgeous shot. If it female leader of the Black Panther Party.

the REPRESENTING FREELANCE DIRECTORS AND CINEMATOGRAPHERS DIRECTORS theDIRECTORSNETWORK.com NETWORK PHONE 818.906.0006

October/November 2019 SHOOT 11 DIRECTORS Robert Eggers Seeking, finding illumination

By Robert Goldrich back on a script written by his brother, ter than anyone else. She reads my script Robert Eggers made an auspicious fea- Max Eggers, about a pair of lighthouse and finds my intentions immediately.” ture directing debut with The Witch, keepers. Robert Eggers, though, gave it which earned him Film Independent a decidedly different twist from what was Ambitious construction Spirit Awards for Best First Feature and originally envisioned as a strange breed Eggers said of production designer Best First Screenplay in 2017. Two years of ghost story. Lathrop, “He’s relentless. His research earlier upon its worldwide premiere at The silver lining of Eggers’ planned is impeccable, particularly on The Light- someone like Guillermo del Toro invents Sundance, The Witch won the Directing bigger budgeted fare falling by the way- house. He will often tell me something is his own worlds so beautifully. But I find Award in the U.S. Dramatic category. side was that the writer-director could re- impossible and deliver it the next week.” the pressure of trying to create that stuff The indie horror hit brought to audi- tain creative control over The Lighthouse, In terms of special delivery, how about crippling.” ences the terrors of a 1630s’ New Eng- meaning he had the freedom to seek the construction of a 70-foot-tall work- Research was also key in Eggers bring- land family with a psychological folk the illumination of his cohorts on The ing lighthouse? “We were shooting this ing a different dynamic to his brother’s lore bent. Now Eggers’ second feature, Witch, including cinematographer Jarin movie with two characters in a single script. Robert Eggers took a period piece The Lighthouse (), takes us back to Blaschke, editor Louise Ford, production location--but the third character is the turn with the film, combining nonfiction the 1870s where two lighthouse keepers- designer Craig Lathrop, and costume de- lighthouse,” affirmed Eggers. “A CG and fiction elements. He came across a -played by Willem Dafoe and Robert signer Linda Muir. lighthouse would have ruined the movie. real account of two lighthouse keepers Pattinson--struggle to keep their wits Eggers’ working relationship with this It had to be real.” who had the same name--one young, one intact on a remote New England island, core group sheds light on him as a film- It was real enough to withstand three older--and that served as a catalyst for a ultimately unable to stave off a descent maker. Eggers said of Blaschke, “He shot nor’easters and give further credence to story grappling with identity that could into madness. all my shorts that aren’t bad....If anyone an inspired, hypnotic tale shot on black- evolve into something almost mythologi- The Lighthouse premiered earlier this has anything praiseworthy to say about and-white 35mm film. While the movie cal. Then came Eggers and his ensemble year at the Cannes Film Festival’s Direc- the cinematic language of any of my has a hallucinatory bent at times, belief is looking to infuse this tale with the right tors Fortnight to stirring reviews. Ironi- movies, it’s for a collaboration between never suspended as Eggers grounds The feel and atmosphere. cally, it was for Eggers the unlikeliest Jarin and me. I am not dictatorial. We Lighthouse in realism rooted in extensive Both The Witch and now The Light- project to get greenlit as his much antici- push each other to get to something es- research to attain historical accuracy. house imparted a lesson to Eggers, name- pated second feature. The director had sential.” “You read and read,” related Eggers. “You ly “to continue to try to stick to my guns.” been more prominently linked to larger Eggers has teamed with editor Ford flip through a manual about how to take That cannot occur within a vacuum. “I’m scale films, including his take on 1922’s as long as he’s been with Blaschke. “She care of a lighthouse from the 1870s. Even still trying to sort out when do I listen to . But when those big-ticket as- knows my tastes better than I do,” as- if you misread a sentence, it can spawn people and take their advice? And when signments didn’t come to fruition, he fell sessed Eggers. “Jarin and I are usually an idea. This research informs my writ- do I insist that we have to reinvent the painting ourselves into these corners and ing, the specificity of details inspires the wheel? Unless you’re Ridley Scott or In- Louise knows how to get us out of that. story, inspires moments, inspires motifs. gmar Bergman, generally the director is I’m perhaps most sensitive in the edit “Creating this material world through the least experienced person on the crew. room and Louise knows how to keep me creative interpretation and with his- That certainly applies to someone in my from jumping off a bridge.” torical accuracy--with great collabora- shoes with just two features. But even if Of costume designer Muir, Eggers tors--feels good. I like living up to this you’ve made five or six features, which is related, “She does the tailoring that standard of history and realism. I like formidable, your crew has made at least

Photo by Eric by Chakeen/courtesyPhoto of A24 transports us to another world. She un- transporting an audience to a different dozens. You have to learn from them and The Lighthouse derstands my scripts dramaturgically bet- time and historical place. By contrast, still be true to your vision.”

THANKS TO ROBERT EGGERS AND A24 FOR HAVING US WORK ON THE LIGHTHOUSE

The-Artery.com 12 SHOOT October/November 2019 THANKS TO ROBERT EGGERS AND A24 FOR HAVING US WORK ON THE LIGHTHOUSE

The-Artery.com DIRECTORS Hot Locations Amazon To Shoot Lord of the Rings Series In New Zealand The Amazon Studios' TV series based on J.R.R. Tolkien’s iconic fantasy novels Nisha Ganatra “The Lord of the Rings” will shoot in New Zealand. Pre-production has started, and production on the series will begin in Auckland in the coming months. Looks to turn fantasy into reality in ad arena The EPs and showrunners on the series are J.D. Payne and Patrick McKay. J.A. Bayona (The Orphanage, Jurassic Park: Fallen Kingdom) will direct the first two By Robert Goldrich episodes and also serve as an EP, alongside his partner Belén Atienza. Director Nisha Ganatra made a major In a joint statement, Payne and McKay shared, “As we mark at this year’s Sundance Film Festival searched for the location in which we could bring to life with Late Night, which earned a standing the primordial beauty of the Second Age of Middle-earth, ovation, rave reviews and $13 million from we knew we needed to find somewhere majestic, with Amazon, the highest price ever paid at the pristine coasts, forests, and mountains, that also is a home fest for a film by a female director. Written to world-class sets, studios, and highly skilled and experi- by and co-starring Kaling enced craftspeople and other staff. And we’re happy that and Emma Thompson, the comedy is a J.A. Bayona we are now able to officially confirm New Zealand as our departure from reality in the sense that it home for our series based on stories from Tolkien’s ‘The Lord of the Rings.’ We centers on a veteran late night talk show are grateful to the people and the government of New Zealand and especially host (portrayed by Thompson) who’s a Auckland for supporting us during this pre-production phase. The abundant woman. Late night talk, after all, is a male- ating incredibly funny television yet no measure of Kiwi hospitality with which they have welcomed us has already dominated arena. one is asking anyone in that world to do made us feel right at home, and we are looking forward to deepening our part- However, looking to make art imitate commercials. That seems strange to me.” nership in the years to come.” life on a parallel track, Ganatra is push- Ganatra is a friend and colleague of ing to become a comedy director in the Green. They met years ago on a train AFCI Releases Study On Best Practices spotmaking/branded content sector, an- headed for a film festival where they both The Association of Film Commissioners International (AFCI) has released other area traditionally the province of had independent films debuting--Green Best Practice in Screen Sector Development, an extensive new analysis of ef- men. Shortly after Sundance, she signed with George Washington (a 2000 release) fective strategies and policies used by governments around the world to maxi- with Chelsea Pictures for her first com- and Ganatra with Chutney Popcorn mize their share of the content production market. Performed by Olsberg•SPI, mercial representation. Ganatra brings (1999). “I admired David’s range of work, the study was introduced last month at AFCI’s 43rd Cineposium Conference in major comedy chops to Chelsea, not just and what he had done in commercials,” St Petersburg, Russia. with Late Night but also for her Golden recalled Ganatra. The study examines formal best practices in areas such as legislation, strat- Globe-winning and Emmy-nominated She credited Green with later getting egy, funding, and other forms of support. The study also assesses informal work on Transparent (Amazon). She is the her to contemplate the creative possibili- best practice in the form of processes and procedures that reduce friction or co-EP and director of You, Me, Her, as well ties in the ad sector. “He asked me if I had difficulty for filmmakers at any point across the production process, such as as co-EP and director of the Pamela Adlon ever done commercials. I said ‘no, but I permitting systems for location filming or straightforward customs and visa series Better Things. watch them all the time.’ With music vid- procedures for equipment and workers. Ganatra’s episodic credits span such eos and commercials you can sometimes Analysis of automatic incentives underlines the need for simplicity and clar- shows as Brooklyn Nine-Nine, Girls, Red feel images in your head that you want to ity in structuring an incentive system, and the fact that legislation and related Oaks, Fresh Off the Boat, The Last Man on express somewhere but cannot in TV or guidelines must provide certainty on all areas of eligibility. Stability, predict- Earth, Mr. Robot, The Mindy Project, Love, film--high impact images like these are ability and confidence in a system are all critical success factors. Future Man, Dear White People, Married needed within a short time frame. Com- Meanwhile, effective workforce capacity development depends on being and Shameless. mercials have to be more visual in one closely informed by industry needs. And best practice in building physical in- Ganatra said that she was drawn to sense because there’s less time to tell a frastructure and services is underpinned by the fact that the current scale of Chelsea by David Gordon Green, a direc- story.” global production investment has significantly increased the need for physi- tor there, and company president Lisa Ganatra came to Chelsea with some cal spaces to shoot, and studios are now a key area of need in many markets. Mehling. branded content/entertainment experi- Strategic, long-term government investment and support are key in this area “Breaking out in advertising and be- ence, having directed a Google Home given the levels of expenditure required to build a studio. Governments can coming a force is something I want not campaign last year featuring Amy Poehler, also assist development in other ways, such as undertaking research regarding just individually but as a way to help other Amy Sedaris, Chelsea Peretti and Maya production and studio demand so that investors can understand opportuni- women do the same. There’s tremendous Rudolph. And at Chelsea she landed a ties, and by identifying land or progressing private comedic talent among so many women commercial for Plan B, the morning after developments quickly through planning processes, and that needs to be brought to bear in contraceptive pill for women, which dove- further priming the market by investing in technol- commercials. We’re watching women cre- tailed nicely with her past work at and ogy and digital connectivity. commitment to Planned Parenthood. Finally, film-friendliness is critical for develop- Mehling assessed, “Nisha is an extraor- ment and involves ensuring a positive view of the dinary talent and I believe she’s going to AFCI's Conoplia (l) with Soviet dignitaries benefits of filming across a range of stakeholders. become a major influence in the advertis- “AFCI’s role as the only global organization bringing together film com- ing and brand space, with a new perspec- missions and industry is to inform on best practice, and this report serves as tive to bring to the comedy performance a roadmap,” said AFCI president Jess Conoplia. “The need is especially critical arena.” now, as an increasing number of territories acknowledge the importance of

Photo by Emily Aragones/courtesy by Studios Photo of Amazon Ganatra knows first-hand that some- the screen sector.” Emma Thompson in Late Night Continued on page 18 14 SHOOT October/November 2019 DIRECTORS Marielle Heller Tour de force performances

By Robert Goldrich Award winner Tom Hanks as Fred Rogers, to work with world-class actors--but she’s Marielle Heller has a talent and affinity for the beloved host of the PBS kids’ series hopeful that women filmmakers in gener- teaming with actors to help nurture tour Mr. Rogers’ Neighborhood. al will be recognized more for their talent de force performances from them. Her Heller’s penchant for eliciting stellar for getting the most out of cast and crew. two last features are prime examples: Can performances comes from her being an ac- For A Beautiful Day in the Neighbor- You Ever Forgive Me? with Melissa McCar- tor herself. “Collaborating with my actors hood, among the challenges, she ob- thy and Richard E. Grant earning Oscar and crew are my favorite parts of direct- served, was “making a movie about some- helps bring us into the story,” said Heller nominations for best lead actress and best ing,” she said. “That’s what I’m known for, one so beloved. Everybody would make who assembled a team of artisans to in supporting actor, respectively, earlier this creating an environment where they feel a different Mr. Rogers’ movie. There’s a turn bring that story to us, including cin- year; and A Beautiful Day in the Neighbor- safe to do bold work, where I’m helping to pressure to make sure you’re fulfilling ev- ematographer Jody Lee Lipes and produc- hood (Sony Pictures), which is scheduled shape performance within the emotional eryone’s desire. I tried not to think about tion designer Jade Healy. Up until A Beau- for a November 22nd release and features arc of the story.” While that reputation that too much. I thought others’ expecta- tiful Day in the Neighborhood, Heller had a brilliant turn by two time Academy is known within the industry, the power tions might bog me down.” Instead Heller only collaborated on small projects with of the acting performances in Heller’s dealt with what to her was the foremost Lipes and had never worked with Healy. films somehow in the mainstream press challenge at hand--“making a movie in- Heller went to Sundance Lab together and even the awards show circuit gets credibly specific while needing to touch with Lipes as directors and became a huge separated from the work she did to help the universal qualities of Mr. Rogers.” admirer of him as a DP. They became bring them about. “Maybe it’s something The perspective of a cynical reporter, close friends and when the cinematogra- about women directors,” she conjectured. Lloyd Vogel (Matthew Rhys) who reluc- pher on her first two features (The Diary “Credit goes to everyone else, great actors, tantly agrees to profile Rogers, helps in of a Teenage Girl, Can You Ever Forgive

Photo by Lacey Terrell/courtesy of Sony Pictures of Sony Terrell/courtesy Lacey by Photo some magic that happened.” that regard. “It’s hard not to feel cynical in Me?), , was unavailable be- A Beautiful Day in the Neighborhood Heller agrees that she’s been blessed this day and age, and Lloyd’s perspective Continued on page 18

October/November 2019 SHOOT 15 DIRECTORS Bong Joon Ho The “burden” of the Palme d’Or

By Robert Goldrich lish-language interpretor, Bong noted the he has amazing focus and doesn’t mind. Writer-director Bong Joon Ho found his pitfalls of plaudits, observing that while it He’s a great partner. I’m very comfortable film Parasite (Neon) in a unique position was “an honor and a pleasure” to win the working with him.” prior to when it hit U.S. theaters ear- Palme d’Or, “at the same time for a film- As for DP Hong, Bong cited their lier this month. The movie was already maker it comes as a burden. What I have shared “love of natural lighting, to show a commercial and critical success--a box to do is to make it not feel like a burden, on screen the subtle atmosphere you see office hit in his native South Korea, and to act as I would normally act, to naturally in the morning and evening with natural The separate spaces, though, become winning the Cannes Film Festival’s Palme maintain what I have been doing,” which light.” Sunlight is a prime source of illu- figuratively two worlds that come togeth- d’Or back in May. Parasite has already for him means continuing his process and mination for Parasite, including the two er--rich and poor. The former is that of been named South Korea’s entry for the projects. main locations--an affluent family’s man- the Park family who reside in a magnifi- best international film Oscar, and is seen That process includes his valued con- sion and an impoverished clan’s subterra- cent house. On the flip side we have the by many as a contender for other main- tinuity with certain key collaborators, nean, claustrophobic dwelling. Kim family, who live by the seat of their stream Academy Award honors. which again proved successful on Para- Parasite was a departure for Bong in pants, stealing wi-fi and hustling to exist Speaking to SHOOT through an Eng- site, prime examples being cinematogra- terms of locations--or the paucity thereof. and subsist. In a scheme hatched up by pher Kyung-pyo Hong and editor Jinmo “Personally I love shooting on location,” college-aged Ki-woo, the Kim children Yang. he shared, pointing to the far flung locales install themselves as tutor and art thera- Of the latter, Bong related, “I really that his prior films such as Okja took him. pist to the Parks. The Kim patriarch and trust his amazing sensibility in terms of But for Parasite, he said, “90 percent of matriarch become the Parks’ chauffeur rhythm. As a I don’t shoot the narrative is in two houses--one rich, and cook/housekeeper, respectively. The coverage. I shoot according to the story- one poor.” Nonetheless he found chal- Parks do not know that their new trusted board I’ve done in advance. For an editor, lenges and happiness in that dynamic, support team is from the same family. A

Photo courtesyPhoto of Neon and CJ Entertainment that kind of project might feel more bor- relating that it was “enjoyable to focus on symbiotic relationship forms between the Parasite ing without a wide range of options. But details for both spaces.” Continued on page 18 Dan Krauss Cannes x 2

By Robert Goldrich Named after San Francisco General oncologist who committed to patient care While two Best Short Subject Documen- Hospital’s ward 5B which opened in at 5B even though he acknowledged fear tary Oscar nominations--in 2006 for The 1983 as the first full-fledged hospital unit for his health and that of his family since Death of Kevin Carter and in 2017 for dedicated to treating people with AIDS, the extent of AIDS’ contagious nature Extremis--put him in rarefied industry air, the documentary was helmed by Krauss wasn’t known at the time. He related that Dan Krauss this year scored another two- via Saville Productions. The moving film he and his wife had a hard time talking pronged career accomplishment that is shows the positive power of nursing, con- about the potential perils. not just about how to treat this disease but rarer still, if not unprecedented. That feat tinuing a theme which Johnson & John- Saville worked with agency UM on 5B how to handle patients with compassion is having a branded feature documentary, son has championed over the years. which was acquired by Verizon Media for and dignity in the face of bigotry. 5B, debut at the Cannes Film Festival as Entertainment Lions jury president distribution, including a theatrical run. “It was a theme with a lot of resonance part of its Special Screenings lineup this Scott Donaton, global chief creative & “The project started off with quite a in today’s world,” continued Krauss. “I past May only a month later to have that content officer of Digitas, global, said, “5B different ambition,” recalled Krauss. “We immediately thought this could be really film for Johnson & Johnson make an in- is a brave idea and a beautiful story that’s were researching stories relative to urgent special. It was like an insect trapped in am- delible mark at the Cannes International brilliantly crafted. It can--and will--stand care and frontline rescue in more contem- ber. I felt we had found a moment in time Festival of Creativity where it won the En- as a piece of great entertainment as well as porary times, following nurses and first re- that hadn’t been discovered. I was tremen- THANKS TO LU LU WANG AND A24 FOR HAVING US WORK ON tertainment Lions Grand Prix. an example of bold marketing.” sponders working in Haiti or other global dously excited that we came across this 5B tells the stories of caretakers, pa- hotspots. Along the way my research team chapter in the AIDS epidemic, a chapter tients and others impacted by the pioneer- came to me with some newspaper articles yet to be told.” ing hospital ward, introducing us to the from the 1980s about 5B. I grew up in Krauss observed that the approach to THE FAREWELL likes of Mary Magee, a nurse who came Berkeley, 10 miles away across the bridge the film was key to its success. “I don’t out from New York with the hope of land- but had no idea about the first AIDS ward think of the film as branded content. We ing a job at 5B so that she could care for, which took root in San Francisco General were allowed to make the film we wanted comfort and protect AIDS patients who Hospital. I wasn’t aware of the tremendous to make. We had the final cut. When it at that time were given a death sentence. battle waged in the halls of that hospital to came to making this film, we used the A scene from 5B Then there was Dr. Paul Volberding, an create that ward, with debate raging over Continued on page 19 The-Artery.com 16 SHOOT October/November 2019 DIRECTORS Lulu Wang A dream come true at Sundance

By Robert Goldrich relatives learned that her grandmother in my grandmother’s home town for a Nominated for the Dramatic Grand Jury in China, affectionately referred to as fairly low budget with no big movie stars Prize at this year’s Sundance Film Festi- Nai Nai, had stage 4 lung cancer and was aside from Awkwafina was given a chance. val and then winning Audience Favorite given three months or so to live. That di- For Sundance to put us into the festival as distinction at Sundance’s London fest, agnosis was kept from Nai Nai, which is a an American film in the dramatic compe- The Farewell paradoxically marked a conventional approach to such situations tition was a really meaningful statement. major industry hello, signaling the high- in China. We are seen as an American film which is ing. I loved her composition,” remem- profile arrival of director Lulu Wang. Wang’s family, who had relocated from what I wanted all along. We are seen as an bered Wang. She described her Sundance experi- China to Florida, reluctantly went along American film as we expand our idea of Solano was reluctant to commit to The ence in Park City, Utah, as a “dream sce- with the well-intentioned lie, flying back what Americans look like.” Farewell, having just returned from Chi- nario,” with her parents seeing The Fare- for a cousin’s wedding which was has- However, other key elements fell into na. She had promised her boyfriend she’d well for the first time in a theater with tened as an excuse for everyone to reunite place well prior to Sundance as Wang as- be around awhile. Luckily the boyfriend 1,200 people. Then came rave reviews, and see Nai Nai before her death. sembled an ensemble of artists for The didn’t hold her to that promise, reasoning and a phone call Wang fielded the follow- Wang envisioned the story as delving Farewell, including cinematographer that the feature film could be of help to ing night that a car was picking her up so into not only the subject of family and Anna Franquesa Solano, editors Matthew her career. she could be present at the bidding wars ethics but also cultural East/West divides, Friedman and Michael Taylor, and pro- Wang said that she, Solano and Lee over her film. the parent/child relationship and other duction designer Yong Ok Lee. wound up with “a strong connection” “Everybody was coming to talk about paradoxes of life spanning such touch- The latter proved instrumental on working together, which proved essential acquiring the movie,” recalled Wang. “Six points as grief, love, loss and identity. different fronts. For her 2015 short film to The Farewell. months earlier I would have had a hard Wang wrote and pitched but to no avail. Touch, Wang came together with produc- Wang already had a strong connec- time getting the chance to pitch them. She wasn’t able to generate any substan- tion designer Lee who was the first per- tion with editor Matthew Friedman who Now they’re pitching to me. It was incred- tive interest and at one point thought the son she brought on board for The Fare- cut her first feature, Posthumous, but he ibly surreal.” film would never get made. well. “She could do miracles with zero wouldn’t be available immediately for A24 bought the film for worldwide dis- She persevered, though, and broke budget,” said Wang of Lee. But Lee’s im- The Farewell. She found Michael Taylor tribution, capping a wild ride that began through thanks to the chance she got portance wasn’t confined to the job she who came with her to China for the shoot. with Wang seemingly having little or no to tell the story in a This American Life did on The Farewell. She also connected The director explained, “We wanted an chance of bringing her film to fruition. public radio podcast titled “In Defense Wang with DP Solano. editor on set and Matt couldn’t be there Deemed at the outset as not bankable, of Ignorance,” which sparked interest. Wang was having difficulty securing since he was finishing another project. I the premise for The Farewell was based Suddenly the premise became viable, the right person to lens the film. Wang wanted an editor on set because we were supporters fell into place and a funny, dra- recalled the day before she was to leave doing a lot of unconventional framing. matic, poignant film driven in part by a for China, Lee randomly mentioned that I wanted to be able to watch and edit bravura performance from Awkwafina as she was having dinner at Tribeca with her as we went along. Then we got back to Billi (a character based on Wang) became friend Solano, who had recently returned New York and Matt became available. a hot property. from a movie shoot in China. I wanted to have his eye again. Michael Sundance was the pivotal launching Wang then checked out Solano’s reel had become very attached to the material pad in many respects. Wang observed, which consisted of mostly documentary as I was. Matt provided a fresh eye. Matt

Photo courtesyPhoto of A24 “Sundance is still a place of discovery and work, the quality and approach of which comes from a studio comedy background Awkwafina in The Farewell filmmakers taking risks. A film that is 80 deeply impressed Wang. “She was super and brought something different. He’s so on Wang’s family life. In 2013, she and percent in Mandarin (with subtitles), shot empathetic about her camera and fram- Continued on page 19

THANKS TO LULU WANG AND A24 FOR H A V I N G US WORK ON THE F ARE WELL

The-Artery.com October/November 2019 SHOOT 17 DIRECTORS Nisha Ganatra Reflects On Transparent, Late Night, Spots Continued from page 14 discussing the ins and outs of documen- go to Sundance, have your film screened versal and with a cast in- times all it takes is one progressive person tary filmmaking. “What was so amazing before a sell-out audience and that the cluding Tracee Ellis Ross, June Diane Ra- who thinks differently and is willing to about that school is that these are people film sells that night in a bidding war. You phael and Kelvin Harrison Jr. Ganatra also extend an opportunity. At one point, she whose movies you watch. These are your dream about having that one breakout has a TV series in the offing, with Poehler couldn’t break meaningfully into televi- film heroes and you’re sitting in class with movie at the festival. It took me awhile producing. The series is autobiographi- sion. But Transparent creator and director them,” said Ganatra who went on to first to realize that it was my movie and it was cal in nature for Ganatra as it centers on Jill Soloway wanted indie filmmakers for firmly establish herself in indie film with happening to me.” a young woman coming of age in the late her groundbreaking series. That in turn Chutney Popcorn which performed well While Late Night did not perform as 1980s/early ‘90s, navigating life between wound up being Ganatra’s big directorial on the festival circuit. well as anticipated at the theatrical box of- two cultures, part Indian, part American, break into television/streaming comedy. Ganatra has seen the perception of in- fice--despite stellar reviews--Ganatra noted and having to push through obstacles to die film evolve. Early on the conventional that it has been successful online. “Ama- realize her dreams. Prep wisdom was don’t share that you’re an zon was really honest,” she said, relating Green said of Ganatra, “It’s always excit- However, well before getting and then independent filmmaker because you’ll be that they weren’t sure how the film would ing when the voice of an emerging artist being able to take advantage of any career regarded as someone who can’t do bigger perform in theaters but felt confident that begins to be recognized in wider circles of break comes extensive preparation. Gana- budget pictures. Fast forward to today and at the very least it would “blow up” online, industry and culture.” tra began interning and serving as a PA in the indie filmmaker is a superhero, some- and it has. Grappling with theatrical exhi- In that vein, on July 1, Ganatra was one Southern California, and then went to film one who can make a picture look good no bition and online platform exposure is still of 842 notables invited by the Academy school at NYU. Beyond her student film matter the budgetary constraints. “What a delicate balancing act but Ganatra feels of Motion Picture Arts and Sciences to work, she benefited from hearing and get- used to be a liability is now a big asset,” gratified to have Late Night now finding a become members of the Oscars organiza- ting advice from luminaries as part of the she affirmed. receptive audience. tion. This marked the first time that a new curriculum there, including the likes of Asked to reflect on her Sundance ex- As for what’s next, Ganatra is embark- class of inductees had reached gender famed filmmaker teaching a di- perience relative to Late Night, Ganatra ing on her first studio film--with Working parity. Half of the new invitees to the film recting class, and director Barbara Kopple noted, “It was like a dream. You hope you Title. It’s a comedy to be released by Uni- academy are women. Bong Joon Ho Discusses Palme d'Or-Winning Parasite Continued from page 16 reality sets in. making for a unique mix of private lives of complete strangers, the Bong has written all seven films that two clans but then two third parties, the the hilarious and the heart-wrenching. sense of infiltrating a family.” he’s directed. He too is a study in con- Parks’ former housekeeper and her hid- For Bong that infiltration extends to trasts. For example, he observed, “I tend den husband emerge, threatening to de- Inspiration & infiltration the audience in a sense, digging into view- to plan a lot,” deploying “meticulous sto- stroy the fragile ecosystem between the The inspiration for the story came in- ers’ minds, planting a story inside them ryboards.” This detailed planning stems Kims and the Parks. nocently enough, back during Bong’s so that they can live and feel it. Parasite from what he describes as “various forms This story of class struggle and the college days when he tutored a lad in a has been hailed as a masterpiece, reflect- of obsession.” But on Parasite, he learned widening gap between the rich and the wealthy household like the one in the ing Bong’s penchant for genre shifting, a lesson that it can prove prudent to oc- poor at some points plays out like a come- film. “I was fired after two months,” re- bold, imaginative storytelling and styl- casionally break from obsession to realize dic caper as the Kims are almost lovable lated Bong, but the experience on that ization, generating all at once emotional more from a story. “The faster you throw con artists. But the comedy turns dra- job stayed with him, particularly the self- resonance, humor and horror, satire and away the obsession, you come to a better matic and more deeply poignant as a new described “eerie feeling peering into the profound social commentary. thing--sometimes,” he affirmed. Marielle Heller Transports Us To A Beautiful Neighborhood Continued from page 15 on set for Mr. Rogers’ Neighborhood, bring- Fred Rogers message of love in my head Heller’s work extends beyond features. cause he was directing his first film, Heller ing that TV show authenticity to the film. for this long has been a gift, a reminder to She's directed episodes of the TV series thought about gravitating to Lipes since As for Healy, she was recommended stay patient, present and honest. It’s made Transparent and Casual, and via produc- they shared a great rapport and the same to Heller by a friend and colleague. “She me a better mom, hopefully a better leader tion house Caviar has helmed ad fare, in- film language. Her only hesitancy was the works from a place of love, in the same of the ship when it comes to being a direc- cluding a recent Nike Joyride campaign possibility that working closely together way that Jody works. She took so much tor, more conscientious. I’ve always tried to starring Broad City alum Ilana Glazier could put their friendship in a degree of care in recreating perfectly such venues be conscientious but now I’m more aware for agency Megs and Shamus. “You get to jeopardy. Ultimately, she went with Lipes as the Mr. Rogers’ Neighborhood set, and of what’s important and what’s not. It meet a huge number of talented people, whom she said “was so the right person to Fred’s house." helped put life into perspective. Last year I experiment with storytelling techniques, shoot this film--he has a love for Mr. Rog- Asked to reflect on what her biggest was going through awards campaigns (for new toys. You can work on a movie for two ers, is a young father, could relate to Lloyd, takeaway has been from A Beautiful Day Can You Ever Forgive Me?) as I was in the or three years, and out of that time shoot and was committed to telling this story in in the Neighborhood, Heller shared, “The process of this Mr. Rogers movie. Anytime just 30 days. This (commercials) is a way the right way,” which included deploying impact on my life has been greater than ego would rear its ugly head, I could fall to get back on set and meet wonderful Ikegami cameras to film those segments the impact on my work. Living with the back on Mr. Rogers’ Neighborhood.” people to add to your talent roster.” 18 SHOOT October/November 2019 DIRECTORS Dan Krauss' Tale Of Two Cannes Festivals for 5B Documentary Continued from page 16 nected with “a cadre of mentors.” Over drew who during the U.S. invasion of Af- “There’s no such thing as an old story if same process I would with any other inde- the ensuing 10 years, Krauss was a gun for ghanistan witnesses other recruits killing the story is powerful,” he affirmed. “May- pendent film. I was proud to have Johnson hire, serving as a DP for select directors. innocent civilians under the direction of be that sounds trite but this story about & Johnson as a supporter. To have a giant The Death of Kevin Carter was director a sadistic leader (Skarsgård). Andrew con- 5B is almost 35 years old. The way I’ve corporation willing to put real muscle be- Krauss’ first film. Beyond that short, 5B siders reporting what he’s seen to higher- seen audiences--even young audiences- hind storytelling is something I had never and the aforementioned Extremis, Krauss' ups--but the increasingly violent platoon -respond to this story is really astonishing. experienced before. To see this film gain body of notable directorial work includes becomes suspicious that someone in their Sometimes as a filmmaker you fear that a a legitimate theatrical release in over 100 the feature The Kill Team which won the ranks has turned on them, and Andrew story you take on will only appeal to peo- markets and now live on streaming plat- Grand Jury Prize for Best Documentary begins to fear that he’ll be the next target. ple who saw and experienced it through forms has been gratifying.” at the Tribeca Film Festival and the Truer This will mark Krauss’ narrative fea- their own lives. You run the risk of not than Fiction Independent Spirit Award. ture directorial debut, making for a most connecting with those people who didn’t Roots in journalism The Kill Team also garnered nomina- eventful 2019--with two films hitting the- have it as part of their experience. But I’ve Krauss started out his professional life tions from the Directors Guild and Emmy aters--5B and The Kill Team (A24), which found young people stunned to learn of as a photojournalist, shooting for the likes Awards, and has been adapted for an is slated for release this month. this story, the depth and degree of fear and of Associated Press, the San Francisco Ex- upcoming narrative feature directed by While Krauss has to wait to see how devastation, showing us the ways in which aminer and the Oakland Tribune for more Krauss and starring Alexander Skarsgård The Kill Team will be received, he’s most history can repeat itself. There’s an eerie than a decade. Wanting to spend more and Nat Wolff. grateful for the response thus far elicited resonance to what happened 35 years ago time with a story, he studied documentary In the new iteration of The Kill Team, by 5B, which imparted an important les- and what’s happening in their world today filmmaking at UC Berkeley where he con- Wolff portrays a young soldier named An- son to him. that film can uniquely capture.” Lulu Wang Offers A Fond, Emotionally Resonant Farewell Continued from page 17 was released by The Orchard. Wang was collaborators don’t always share the same is important as you have conversations specific and frugal about every shot. Ev- also a 2014 Film Independent Project background as you whether it’s culture and get notes from people with different ery frame matters. He makes me defend Involve Directing Fellow and a 2017 Sun- or gender. You see the world in different backgrounds and experiences. You need every single frame, never lets me linger dance Fellow invited to participate in the ways. It’s important for me in the process to have these conversations in a respect- longer than is necessary. He helped to FilmTwo Initiative for second-time fea- to decipher feedback--what are craft or ful way. It makes me look and clarify my make the film tighter.” ture filmmakers. story notes and what are culturally spe- own work to determine if it’s a writing is- Reflecting on the success of The Fare- cific notes. If I get a note from a producer sue, a cultural issue, a gender issue. I also Musical, multi-cultural roots well, Wang said the experience of mak- or collaborator that something did not often turned to friends who were outside Wang is a classical pianist turned film- ing the film helped her “to trust myself make sense, I need to figure out if that’s my filmmaking circle, friends who came maker. Born in Beijing, raised in Miami more, to trust my own intuition which is because my writing is bad or if it’s a cul- from the same cultural background as I and educated in Boston, she is fluent in important because I’m telling stories in a tural thing that a person who comes from to get their opinions as well.” English, Mandarin Chinese and Span- world where characters like myself are not a different background can’t relate to. This collaborative process, observed ish. At the 2014 Film Independent Spirit traditionally featured.” "So much of my job as a writer, a di- Wang, has yielded a theatrical feature film Awards she received the Chaz and Roger Wang further observed that “collabora- rector, a storyteller is to create empathy," which, while deeply personal for her, has Ebert Directing Fellowship. tion means conversation--not just about continued Wang. "You’re not always tell- resonated with a broad-based audience Her debut feature film, Posthumous story structure but often revolves around ing your story to people who come from who relate to the universality of family starring Jack Huston and Brit Marling, talking about culture and gender. Your the same background. So collaboration and relations.

www.SHOOTonline.com August/September 2017 Mid-Year Industry Connecting Buyers & Sellers of Creative, Production Report Card 12

& Post Services since 1960 Antoinette Zel, The Story Room Production Industry pros turn to SHOOT Magazine, SHOOTonline.com, The SHOOT>e.dition, The SHOOT Dailies & The Road To EmmySeries Part 14

Tom Murphy, McCann New York

The SHOOT Publicity Wire to keep abreast of the latest commercial and entertainment production and post industry Photo credits page 4. Emmy Nominees Reflect On Collaborators, Creative Challenges 4 From top left, clockwise: Scenes from The Handmaid’s Tale, Stranger Things, Mozart in the Jungle, Westworld, and The Night Of

GRAND PRIZE WINNER news, new work, talent, techniques, tools, applications, locations, award shows, festivals & events. James Bray, Arnold Worldwide

Also in the Issue... Chat Room 11 Market your company via SHOOT’s digital and print platforms to let decision-makers at Production, Editorial, Commercial Emmy 21 Top 10 Music Tracks Chart 22 BEHIND THE SCENES Top 10 VFX/Animation Chart 24 PHOTO CONTEST Cinematographers Winter 2016-17 Edition & Cameras 26 Post, VFX, Animation, Music & Sound companies; Ad Agencies & Brands; TV, Cable & Online Networks; Movie Studios Set photographer Adrienn Szabó captures Grand Prize for Hungarian stunt performers in action. All BTS contest winners 17

INTRODUCING The Professional Commercial, Movie My & TV Production and Post Talent db MySHOOT is for professional motion picture artisans, and MYSHOOTONLINE.COM the companies who represent them, to promote their work and profi les to brand, agency, network, movie studio, and other and Independent Filmmakers know why they should connect with your company’s talent, services and products. producers. MySHOOT is a symbiotic addition to SHOOTonline®, the “Industry Database of Record” for motion picture production industry decision-makers. All MySHOOT Profiles Company or Individual Profi le included with low-cost SHOOT Membership Continually Promoted Across For more info on Digital & Print Marketing, please visit https://shootonline.com/go/advertise All SHOOT Digital Platforms Learn more at Members.SHOOTonline.com or call 203-227-1699 ext. 13 For info on the next Print Issue, please visit https://shootonline.com/go/upcomingissues For more info, rates & space reservations, please contact [email protected]

Receive SHOOT e-Pubs (free) Info on The SHOOT Publicity Wire Become a SHOOT Member Post MySHOOT Co. & Talent Pro les Emmy FYC Marketing Academy FYC Marketing https://shootonline.com/subscribe http://pr.shootonline.com https://members.shootonline.com https://my.shootonline.com https://shootonline.com/emmyfyc https://shootonline.com/fyc

October/November 2019 SHOOT 19 CINEMATOGRAPHERS AND CAMERAS Lensing Honey Boy, 21 Bridges, IT Chapter Two DPs Natasha Braier, Paul Cameron, Checco

Varese shed light courtesyPhoto of STX films

on their work, courtesy Studios Photo of Amazon

collaborations courtesy Studios Photo of Amazon with directors By Robert Goldrich Photo by Doug by KirklandPhoto Pictures Bros. Warner of Brooke Palmer/courtesy by Photo courtesyPhoto of STX films Photo courtesyPhoto of STX films

One DP had a gratifying experience she was going to contact me about the with Har’el. “Our discussions during working with Amy Har’el’s first narrative movie (Honey Boy),” recalled Braier. prep had a lot to do with feelings, what feature film, feeling simpatico with the “I hadn’t seen her work before . When where the core feelings and dramaturgy director’s visceral and poetic approach. I watched Bombay Beach I was blown dynamics in each scene, understanding Another cinematographer was drawn away and I immediately knew I wanted to the essence of what’s happening to Shia’s to the prospect of lensing an old-school work with her.” character in each moment and then try- cop film, adding to a recent flurry of work Also enticing to Braier was the Honey ing to translate that visually from a very which marked his return to HBO’s We s t - Boy story, based on actor Shia LaBeouf’s visceral place, not logical. We didn’t sto- world--not just as a DP but for the first childhood and turbulent relationship ryboard or plan setups; we mostly built time as an episodic director. with his father. LaBeouf actually wrote an emotional language together to then OAnd our third lenser reunited with the script as a therapeutic rehab exercise, in the moment jam with what the actors director Andy Muschietti to turn out the and wound up starring in the film. were doing, allowing the camera and the box office hit, IT Chapter Two. “I love unconventional narrative, and light to follow those emotions instead of Here are insights from Natasha Braier, as the daughter of two Freudian shrinks, being a premeditated plan. ASC, ADF, Paul Cameron, ASC and I’ve always been fascinated with the ther- “At the beginning we talked about us- Checco Varese, ASC. apeutic process and somehow gravitated ing different textures for the two time THANKS TO OUR FRIEND PAUL CAMERON FOR THE ENDLESS CINEMATIC towards stories that have to do with iden- periods (LaBeouf’s childhood and adult Natasha Braier, ASC, ADF tity, transformation and liberation,” said life),” continued Braier. “We were go- From top left, clockwise: DP Honey Boy (Amazon) marks cinema- Braier. “When I read Honey Boy I was ing to use different lenses, formats and Natasha Braier (l) and director Alma tographer Natasha Braier’s first collabo- fascinated by this very particular and per- LUTS, but as we started to film we real- INSPIRATION Har'el on set of Honey Boy; a scene ration with director Alma Har’el. Just sonal space between narrative, documen- ized that it was better to keep them the from Honey Boy; Stephan Jame seeing Har’el’s documentary Bombay tary and art therapy. That really attracted same, because emotionally the adult in 21 Bridges; DP Paul Cameron; Beach was enough to fuel Braier’s desire me to the project--and to work with Alma character is still in that childhood trauma, Sienna Miller in 21 Bridges; a scene to team with the filmmaker. “A mutual and her poetic and visceral approach.” there isn’t a clear separation, that world is from IT Chapter Two; cinematogra- friend, director Antonio Campos, intro- In terms of approach, Braier shed light still in him. Later on the script changed pher Checco Varese duced me to Alma’s work and told me on the nature of her working connection in the edit and the two timelines were in- The-Artery.com 20 SHOOT October/November 2019 CINEMATOGRAPHERS AND CAMERAS

tertwined, which made a lot of sense. We times I would operate the second cam- my monitor away from the actors to let to the HBO series to shoot the highly an- had felt that coming during the shoot so era if it was outside and I didn’t have to them have room to play free. It was a new ticipated first episode of season three for luckily we kept the same texture as the play with the dimmers. Sometimes Alma challenge that taught me and my team a director Nolan. Cameron is also directing most fascinating thing in the movie is, would operate it and on a few occasions lot about being invisible, creating a non- the season’s fourth episode of Westworld. I think, how there is no time and space we got another operator. We used the invasive lighting that can change and As for features, Cameron and Dion separation really. He is the present adult Xtal Express anamorphic lenses by Joe mutate between takes, or even during Beebe, ASC, shared a Best Cinematog- and he is also the kid at the same time Dunton; these are my favorite anamor- the take, without disturbing the actors raphy BAFTA Film Award in 2005, as and we just peel an onion and see differ- phic lenses ever." at all. It turned out to be super dynamic well as an ASC Award nomination for ent layers of the same person. The movie As for the biggest creative challenge and something I can now incorporate in the Michael Mann-directed Collateral. has its own time space which is an emo- that Honey Boy posed to her, Braier relat- my way of working even if a film doesn’t Other Cameron-lensed motion pictures tional time space inside Shia’s psyche.” ed, “We had to move fast. We only had a require that degree of improvisation or include Pirates of the Caribbean: Dead During some six weeks of prep, Braier few takes but the main thing was that we jamming around an actor, because in the Men Tell No Tales, directed by Joachim and Har’el had occasion to talk exten- didn’t know what Shia was going to do in end, all actors are really grateful the more Roenning, Man on Fire, directed by Tony sively about the script and the characters. the space until he was there. So in terms invisible and less disruptive I can be.” Scott, and 21 Bridges, which is slated for a “We developed some visual ideas which of lighting I had to prepare for different Honey Boy, Har’el’s narrative feature November release. Brian Kirk directed 21 were more like conceptual approaches possible options with very few resources. directing debut, is the latest entry in Bridges, which stars Chadwick Boseman, for each scene,” related Braier. “But the It was like a chess game. Put everything Braier’s standout career. The DP made J.K. Simmons and Sienna Miller. The real mise en scène only happened on the on wireless dimmers and then right after her first major mark in 2006 with di- film is about a disgraced detective in the shoot, once the actors where on set. We the rehearsal, or during the first take rector Alexis Dos Santos’ Glue followed NYPD who gets a chance at redemption. would let them rehearse with Alma and when there wasn’t any rehearsal, I would by Lucia Puenzo’s Argentinian drama About 95 percent of the film features then observe the rehearsal and quickly jam with my dimmer boards in front of XXY. Braierr’s wide range extends from night scenes, most of which were shot on decide how to capture that. That’s in the monitor like a DJ and quickly decide the Oscar-nominated foreign language the streets of Philadelphia, which some the best cases--sometimes we had no re- what’s backlight what’s front light, which feature The Milk of Sorrow--written and limited time on location in . hearsals. There was a high degree of im- ones to switch off, colors , et cetera. It def- directed by Claudia Llosa--to a pair of di- Cameron noted, “For this film I went provisation, which felt like jamming with initely kept me on my toes every second.” rector David Michod films, Animal King- for an older New York City night look the actors and allowing them to be free Expounding upon the lighting, Braier dom and The Rover. Braier then received when mercury vapor and sodium lights and helped us capture things in a very said she had to “give them (the actors) the acclaim for lensing director Nicolas ruled the night. I used some lights I raw, real and honest way.” freedom to move wherever they wanted Winding Refn’s The Neon Demon, and helped design a decade ago called T Pars; Braier chose to deploy the ARRI Al- and at the same time have a lighting that then the Sebastian Lelio-directed Gloria you can’t replace the reality of those col- exa Mini on Honey Boy. “I love the look is not flat and overall but moody and Bell. or temperatures. They also require very of Alexa. It’s my favorite digital camera. serving the drama. Preparing all those little electricity and provide huge savings Mini was a no brainer because it was all options with limited time and resources Paul Cameron, ASC in generators and manpower.” hand held. We had mostly one camera and then in one second during the first Paul Cameron, ASC has a body of work 21 Bridges marked the first time Cam- operated by my Steadicam operator Ma- take or quick rehearsal decide which one spanning notable achievements in film eron worked with Kirk. The DP was tias Mesa, whether it was hand held or you are going to use and stick with for and TV. On the latter front, he lensed drawn to the director’s vision for the film. Steadicam. Some days we had a second the rest of the scene, or change it subtly the Westworld pilot, “The Original,” for “The script had a kind of Matthew Car- camera, especially when we had Shia and during the take. It was a new situation for series creator/director/writer Jonathan nahan rich drama feel with a slight (Sid- Noah (Jupe, as a youngster), so that we me becoming a DJ with wireless lights, Nolan. The “Original” earned Cameron ney) Lumet sensibility,” assessed Cam- could really capture the first and some- dancing with the camera (controlled by his first Emmy nomination in 2017, as eron. “Brian wanted to do as much of an times only take with the rawness and headsets) and jamming with the lights well as ASC Award and Camerimage Jury old school cop film as we could possibly truthfulness of a documentary. Some- (controlled by my dimmer boards) from Award nods. Cameron recently returned Continued on page 22

THANKS TO OUR FRIEND PAUL CAMERON FOR THE ENDLESS CINEMATIC INSPIRATION

The-Artery.com October/November 2019 SHOOT 21 Toolbox CINEMATOGRAPHERS Future Learning Collaborative Grows Varese Discusses IT Factor Since November 2017, Sony Electronics has worked alongside faculty and administration from 11 forward-thinking colleges and universities in the Continued from page 21 this time with the Losers Club grown up U.S. to gain a better understanding of the role technology plays in teaching make. That appealed to me. After shoot- as the demonic clown Pennywise looms, and learning. For the past two years this group of public and private schools, ing the film, then the DI and final cut, I was an appealing proposition for Varese. known as The Future Learning Collaborative, has held regular meetings, think we did a good job of staying true to “In ways the second movie is more dra- summits and trips to discuss the education landscape and ways to incorpo- the original vision.” matic because the summer of kids is rate new technology and design insights that create a more meaningful, col- Cameron went with the Sony Venice now the summer of adults, dealing with laborative and engaging learning environment. camera for 21 Bridges. “I had done a grownup fears. It became more of an Since the Future Learning Collaborative’s launch, number of commercials and a short film adult story,” observed Varese. higher ed members have tested forthcoming and new on the Sony Venice when it came out,” Perhaps the biggest challenge involved Sony technology and helped to influence the design recalled Cameron. “I was impressed by the sheer number of prime characters- and development of these educational products and the camera and its user friendliness for -the Losers Club members as adults, and solutions, based on real-world input and validation. In a DP. I’m very hands-on and change my friends, relatives, et al. “You have a cast of the past year, the focus of the community was to deepen settings on the fly. The camera appealed 15 or 16 people whose stories you have to the co-creation between members and Sony, as well as to me in that regard.” tell,” said Varese. “You have to complete Kiho Kim to explore ways to create active learning opportunities. In a test run, Cameron paired the the arc of their feelings and fears. And in To meet this goal, member schools have begun implementing “sandboxes,” camera with Scorpio anamorphic lenses, terms of the main adults, every 20 min- a learning environment equipped with Sony’s early stage technology for creating “a halation” that was just part of utes of movie has six character arcs. It’s the purpose of testing, experimenting and validating potential new ap- the desired effect he embraced. Cameron kind of like The Dirty Dozen where you plications, use cases and user experiences. Kiho Kim, PhD, executive direc- observed that he got from the combina- have to complete everyone’s arc. tor, Center for Teaching, Research & Learning, American University, said the tion of the Sony Venice and the Scorpio Varese deployed the ARRI Alexa Mini, sandbox program "allows us to rigorously evaluate cutting edge technolo- lenses “a great energy from the light, a the Alexa SXT and Alexa XT cameras gies in authentic learning spaces and settings on site. In doing so, we are able bursting of energy.” on IT Chapter Two, in tandem with Leitz to gather real-world assessments of how to best deploy these solutions to As for what’s next, beyond his work Summilux-C and MiniHawk lenses. enhance student learning.” on season three of Westworld, Cameron The DP said that on a professional Recently launched Sony solutions that have been tested in conjunction at press time was slated to shoot this fall level what stands out for him on the with Future Learning Collaborative schools include Vision Exchange, for the sci-fi thriller Reminiscence directed film is the chemistry on set among the interactive presentations and active learning; Edge Analytics, an AI-based by Westworld producer-writer-director cast which includes Bill Hader, Jessica video analytics solution; and the UbiCast interactive video learning solution, Lisa Joy and starring Hugh Jackman and Chastain, Isaiah Mustafa, James McAvoy among others--in addition to solutions still under development. Rebecca Ferguson. Reminiscence marks and of course Bill Skarsgard as Penny- Charter Collaborative members come from American University, Arizona Joy’s feature directorial debut. wise. “To witness this cast in the hands of State University, Dartmouth College, Duke University, Houston Community Andy was a joy,” said Varese, noting that College, Indiana University, Montclair State University, Northwestern Univer- Checco Varese, ASC Muschietti is also very hands-on visually. sity, San Francisco State University, University of California at , and In a heartbeat, Checco Varese, ASC, “Andy is gifted as a director, musician, de- the University of Central Florida. agreed to shoot IT Chapter Two (War- signer, a storyboard artist. He has a clear ner Bros., New Line) after director Andy idea of what each frame has to look like, Baselight Makes The Grade For Artjail Muschietti’s camp extended the offer. For what each shot has to be. My job is to re- Independent VFX boutique Artjail has added a Baselight grading suite in one, it was a chance to reunite with Mus- alize that and at times interpret what’s in each of its locations: one in its New York studio, and one in Toronto. Bringing chietti, for whom he lensed commercials his head. He’s relentless but at the end of grading and VFX together will strengthen the studio’s workflow for complex years ago in Spain, as well as a short film, the day the results are wonderful.” effects projects, including ad projects and longform fare. and a TV pilot for Hulu. Varese enjoys Varese began his career in the mid- Since Artjail was founded in 2008, color was always a requirement for his rapport with the director, which grew 1980s, spending nearly a decade shoot- the business, but there was an opportunity to up the stakes and introduce even more on IT Chapter Two. ing news and documentaries within Baselight into the pipeline. Sr. colorist Clinton Homuth However, Varese didn’t take on the major global hot zones. Varese then explained the positive attractions of Baselight. “Being movie due to any personal attraction to diversified into music videos (includ- an overwhelmingly visual person, Baselight’s user in- the horror genre. “When I was in my ing Prince’s “Black Sweat” for which terface is a real positive for me,” he said. “I find myself early 20s, I was a war corespondent and he was a Best Cinematography nominee moving a lot faster, which means more time to explore. news cameraman. I’ve seen enough hor- at the MTV Video Music Awards) and I’m a really big fan of using Baselight’s tools in combina- ror myself,” he explained. But relative to commercials. Varese’s narrative feature tion with one another – using blending modes to smash IT, Varese has also been fascinated with credits include Their Eyes Were Watch- Clinton Homuth a bunch of various looks together is a large part of my mystery, thrillers and dramas. “When I ing God produced by Oprah Winfrey; El experimentation and look development process.” saw the original IT in an audience I re- Aura directed by Fabian Bielinsky; The While NY and Toronto operate largely as self-contained facilities with their member thinking it’s really scary but it’s New Daughter directed by Luis Berdejo; own projects, Artjail is enthused over having tighter integration between not horror. It’s much more drama and 5 Days of War directed by Renny Harlin; grading and various VFX pipelines. The FilmLight BLG render-free workflow- mystery. There are psychological ele- and The Colony helmed by Juan Cam- -based on the small and portable OpenEXR BLG file that can be used to share ments.” panella. Among Varese’s TV endeavors looks between Baselight and NUKE, Flame or Avid--allows editors and com- To engage in those elements as cre- are HBO’s True Blood and FX Network’s positors to access the full grade, in real time, by exchanging the compact BLG. ated by master novelist Stephen King, The Strain. 22 SHOOT October/November 2019 UP-AND-COMING DIRECTORS Photo by Craig Sugden by Photo Rayka Zehtabchi Tyler Nilson (l) & Michael Schwartz Christopher Werner Glenn Clements Unveiling The Fall Collection Of Filmmaking Talent To Watch Promising, already accomplished helmers look to extend their reach into the branded arena

By Robert Goldrich Zehtabchi never got around to follow- teacher, Melissa Berton, and her students our logo to create--it was the athletes’. We SHOOT’s fall ensemble of up-and-coming ing up but a year later she landed a job at the Oakwood School in North Holly- embraced that idea and empowered the directors includes a Short Subject Docu- as an assistant to a producer who main- wood, who were inspired to take action talent, vision and passion of these spirited mentary Oscar winner who recently land- tained an office on the PRETTYBIRD after learning about the taboo surround- artists. We’re in the business of changing ed her first production company roost for premises where she got the opportunity ing menstruation in developing countries. perceptions, and with this work, we’ve commercials and branded content. to see the inner workings of the shop, In her Oscar acceptance speech, shown that creative power exists in each Also in the mix is a directorial duo gaining first-hand exposure to top-drawer Zehtabchi thanked Netflix for giving an and every one of us.” whose first feature film won the SXSW commmercialmaking and branded con- empowering platform to Period. End of a Zehtabchi said the Special Olympics Narrative Spotlight Audience Award. tent production. Zehtabchi liked what Sentence. A couple of months after her piece underscores why she joined PRET- Another filmmaker diversifies into the she saw and even more so what she ex- Oscar win, Zehtabchi gravitated back TYBIRD. “Aside from being an incredi- ad discipline while continuing to be a su- perienced there, recalling that the people to PRETTYBIRD and Brown, coming ble company producing meaningful, cool pervising producer and in-house director at PRETTYBIRD--most notably VP/ aboard the company’s roster for spots and work, PRETTYBIRD understands me as for an Emmy-winning show on HBO. executive producer Ali Brown--were sup- branded content globally. This marked a filmmaker and where I want to go. They And rounding out our coterie of tal- portive of her. Brown took an interest in Zehtabchi’s first career representation in don’t go after just any job. They tailor it ent is a director who too is extending his Zehtabchi’s point of view and talent well the ad arena where she continues to show to you and your voice as a filmmaker. I’m reach into commercials and branded fare. before it became fashionable to do so. In a penchant for human interest stories just looking for a larger message, something He was nominated for a DGA Award for fact, Brown helped land Zehtabchi’s first as she’s done in her short films Period. with some sort of activism behind it. If Outstanding Directorial Achievement in branded content assignment--for Netflix’s End of a Sentence and her directorial de- I’m directing commercials or any work as Variety/Talk/News/Sports Specials. “What I Wish I Knew” campaign. but, Madaran, which followed an Iranian a filmmaker, it has to be for projects that Here’s our fall collection of several The attention from Brown came before mother deliberating whether or not to mean something, that matter.” promising directors to watch. Zehtabchi’s short film titled Period. End spare the life of her son’s killer. The bold Zehtabchi added that she’s gratified of a Sentence gained public recognition. film was shot entirely in Farsi and won not just to be at PRETTYBIRD but to Rayka Zehtabchi That recognition eventually included as- honors including a Jury Award for Best be joining the company at this particu- Despite earning recognition for her sorted high-profile honors including win- Director at the 2016 HollyShorts Festival. lar industry juncture, citing the progress initial directorial efforts, Rayka Zehtabchi ning the Best Documentary Short Sub- Since joining PRETTYBIRD, Zehtab- being made by Free The Bid and its ex- still had to make day-to-day financial ends ject Oscar. Zehtabchi thus became the chi has again demonstrated her talent for pansion to Free The Work to open up meet as an aspiring filmmaker. While first Iranian-American woman to receive evoking empathy through human-based opportunities for talented women in the serving as a P.A. to further her industry an Academy Award. The short chronicled storytelling, directing a mini-documenta- commercial world. There’s a movement education, Zehtabchi back in the day oc- the impact of The Period Project, which ry centered on nine Special Olympics ath- for women to take ownership of their casionally shuttled folks about as an Uber was responsible for installing a manual letes gathered for a three-day workshop work, to collaborate with agencies and di- driver. A student of people, she would feminine hygiene pad machine in the ru- in Orlando, Fla., where they teamed with rectly with brands as well, she said. “A lot strike up conversations with passengers, ral village of Kathikhera, located outside professional designers from ad agency of these things didn’t exist before. I’m en- one example being a receptionist get- of Delhi, India. The machine not only Publicis Seattle to create a logo and tering this industry at an interesting time, ting a ride to her place of employment, manufactured affordable, biodegradable look for the 2022 Special Olympics USA reaping the benefits of the work that so production house PRETTYBIRD. It was pads for the girls and women of the vil- Games. Zehtabchi’s film captures the many women have done before me.” the first time Zehtabchi heard of PRET- lage, but it also produced a microecon- positive impact of the creative process as TYBIRD and her paid fare invited her to omy, enabling young women to use the well as the spirit and talent of the athletes. Nilson Schwartz send a resume over to see if there was any funds earned to further their education. Pete Kearney, ECD, Publicis Seattle, Writer/directors Tyler Nilson and Mi- work to be had at the company. The Period Project originated from a shared, “We’ve always felt this was never Continued on page 24 October/November 2019 SHOOT 23 UP-AND-COMING DIRECTORS Nilson Schwartz Breaks Into Ad Arena Via Radical Media Continued from page 23 first career roost for ad representation. films with rock climber Alex Honnold, to direct The Wildest Animals in Griffith chael Schwartz--aka the filmmaking duo Nilson and Schwartz are no strangers who later became the subject of this year’s Park, a show in development with Lucky Nilson Schwartz--won the SXSW Narra- to ad exploits. Nilson was once a hand Oscar-winning documentary Free Solo Chap, Margot Robbie and Warner Bros. tive Spotlight Audience Award this year model while Schwartz came up the edi- (directed by Jimmy Chin and Elizabeth for their debut feature, The Peanut But- torial ranks, eventually becoming a full- Chai Vasarhelyi). Nilson Schwartz’s work Christopher Werner ter Falcon, which tells the story of Zak fledged editor at Nomad where he cut with Honnold consisted of Urban Ascents Also recently picking up his first career (portrayed by Zack Gottsagen), a young assorted spots. When Schwartz began and At Home Off The Wall, both pieces representation in the ad arena was direc- man with Down syndrome who runs learning to edit, he met Nilson who was of branded content for Stride Health. All tor Christopher Werner who joined Mox- away from a residential nursing home a neighbor in the same apartment build- the while Nilson and Schwartz became ie Pictures for commercial and branded to pursue his dream of becoming a stu- ing. In fact it was Schwartz who turned one, getting on the same wavelength and opportunities worldwide. dent at the professional wrestling school Nilson onto hand modeling, the first developing that telepathic connection es- Werner is best known for his work as of his idol, The Salt Water Redneck. Zak working gig being in commercials and sential to a directing team. an in-house director and supervising pro- hits the road where he meets with Tyler then Nilson found himself doubling as However, Nilson Schwartz’s venture ducer for HBO’s Last Week Tonight with (Shia LaBeouf) who becomes an unlikely the hands of actor Brad Pitt, soccer star into narrative feature filmmaking was John Oliver. coach and friend. They are joined on this David Beckham and NFL quarterback quite improbable--but not as seemingly Last Week Tonight has won multiple life’s experience-rich journey by Eleanor Brett Favre. Nilson and Schwartz began improbable as the earlier alluded to Gott- Emmy awards, with many of Werner’s (Dakota Johnson), a kind nursing home dabbling in their own projects together, sagen becoming a movie star. It started segments having a hand in being nomi- employee. initially what the former described as “a before Nilson Schwartz got off to their nated and winning the award. He was also The film reflects Nilson Schwartz’s 32-minute rambling nothing that was ter- successful short film start. Some six years part of the Last Week Tonight ensemble talent for striking an emotional chord, rible.” But it led them to more seriously ago, Nilson and Schwartz met Gottsagen, that won the Producers Guild Award in blending comedy and pathos to great explore writing and narrative structure who has Down syndrome, during an act- 2018 as Outstanding Producer of Live effect--story and filmmaking sensibilities over the next year, ultimately yielding ing workshop for disabled people at a Entertainment & Talk Television. that should translate well in the agency The Moped Diaries, a short they wrote camp in Santa Monica, Calif. Gottsagen, Werner describes himself as blessed to and client sector, prompting RadicalMe- and directed that went on to hit the fes- who was working as an usher at his local work with some of the best and brightest dia to bring the duo aboard its global ros- tival circuit while going on to drawing movie theater in Florida, told them he comedy writers, adding that he loves be- ter for commercials and branded content. considerable viewership online. wanted to become a movie actor. ing part of a team. His work on Last Week RadicalMedia becomes Nilson Schwartz’s Next came directing a pair of short Schwartz and Nilson told Gottsagen Tonight has given him the opportunity to that there weren’t many opportunities direct both unknown comic talent, as well

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION: 1.) Publication Title: SHOOT 2.) Publication Number: 006- for people with Down syndrome to break as high profile performers such as Bryan 234 3.) Filing Date: September ,72 ).49102 eussI :ycneuqerF ylhtnom-iB ).5 .oN fo seussI dehsilbuP :yllaunnA 6 6.) Annual Subscription Price: $75. Complete Mailing Address of General Business isher: DCA Business into the movies. Gottsagen then came up Cranston, Michael Keaton, Tom Hanks, Media LLC, 606 Post Road East, #650, Westport, CT 06880 9.) Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor: Publisher, Roberta Griefer, 606 Post Road East, #650, Westport, CT 06880; Editor: Robert with an inspired idea, saying, “Well, let’s Richard Kind, Helen Mirren, Russell Goldrich, 606 Post Road East, #650, Westport, CT 06880; Managing Editor: Jim Theodora, 606 Post Road East, #650, just do it together,” recalled Schwartz. Crowe and the infamous Wax Presidents. Westport, CT 06880 10.) Owner: DCA Business Media LLC, 606 Post Road East, #650, Westport, CT 06880; Roberta Griefer, 606 Post Road East, #650, Westport, CT 06880; Gerald Giannone, 606 Post Road East, #650, Westport, CT 06880 11.) Known The two filmmakers were so inspired Besides Last Week Tonight, Werner has Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securi :seit enoN ).41 eussI etaD rof noitalucriC ataD tsuguA:woleB 9102 ).51 tnetxE dna by Gottsagen’s drive and emotional sin- also worked on Wyatt Cenac’s Problem Nature of Circulation: B-to-B News/Info - Motion Picture Production & Post Indy 16. Publication of Statement of Ownership and will be printed in the October , 2019 issue of this publication. Average No. Copies No. Copies of Single cerity that they took his advice, delving Areas for HBO, as well as producing for Each Issue During Issue Published Preceding 12 Months Nearest to Filing Date into longer form script writing which over Funny or Die. a. Total Number of Copies (Net press run) 8,122 8,020 time developed into The Peanut Butter Werner has long been intrigued by b. Paid/or Requested Circulation 1. Outside County Paid/Requested Mail Subscriptions stated on PS Form 3541. Falcon. The well intentioned good heart- spot and branded content filmmaking. “I (Include direct written request from recipient, telemarketing and Internet requests from recipien t, paid subscriptions including nominal rate subscriptions,employer edness of the story helped draw a notable have directed a fair amount of commer- requests, advertiser’s proof copies, and exchange copies.) 4,940 4,771 cast that included not only LaBeouf and cial parodies for the show (Last Week To- 2. In-County Paid/Requested Mail Subscriptions stated on PS Form 3541. 0 0 3. Sales, and Other Paid or Requested Distribution Outside USPS® 5 3 Johnson but also John Hawkes, Bruce night). It’s a world that has interested me, 4. Requested Copies Distributed by Other Mail Classes Through the USPS (e.g. First-Class Mail®) 0 0 Dern and Thomas Haden Church. being able to tell a story in a short period c. Total Paid and/or Requested Circulation (Sum of 15b (1), (2), (3), and (4)) 4,945 4,774 d. Nonrequested Distribution (By Mail and Outside the Mail) Nilson and Schwartz applied their do- of time. Even if the pieces I do for the 1.Outside County Nonrequested Copies Stated on PS Form 3541 (include Sample it-yourself short film approach to call at- show are sometimes two, three or four copies, Requests Over 3 years old, Requests induced by a Premium, Bulk Sales and Requests including Association Requests, Names obtained from Business Directories, tention to their prospective feature film minutes, keeping people engaged in this Lists, and other sources) 2,335 2,208 2. In-County Nonrequested Copies Stated on PS Form 3541 (include Sample copies, so that it could attract financial backing shorter attention span era is challenging. Requests Over 3 years old, Requests induced by a Premium, Bulk Sales and Requests including Association Requests, Names obtained from Business Directories, Lists, and that enviable cast. Nilson Schwartz You need to give them a reason to keep and other 0 0 put together a proof-of-concept short. watching--through a new element, an as- 3. Nonrequested Copies Distributed Through the USPS by Other Classes of Mail (e.g. First-Class Mail, Nonrequestor Copies mailed in excess of 10% Limit mailed at The five-minute trailer elicited industry pect of a character--and that also applies Standard Mail® or Package Services Rates) 0 0 4. Nonrequested Copies Distributed Outside the Mail (Include Pickup Stands, Trade response, piquing interest in the story and to 15 or 30-second formats. I’ve felt like Shows, Showrooms and Other Sources) 686 900 e. Total Nonrequested Distribution (Sum of 15d (1), (2), and (3)) 3,021 3,108 its characters. Armory Films, the com- I was already subconsciously working in f. Total Distribution (Sum of 15c and e) 7,966 7,882 pany behind such films as Mudbound, this shorter content space even if I was g. Copies not Distributed (See Instructions to Publishers #4, (page #3)) 156 138 h. Total (Sum of 15f and g) 8,122 8,020 financed the project which was released doing content that was slightly longer for i. Percent Paid and/or Requested Circulation (15c divided by f times 100) 62.07% 60.56% theatrically back in August by Roadside the show.” Requested and Paid Electronic Copies 788 645 Attractions. Moxie reached out to Werner and he I certify that all information furnished on this form is true and complete. Gerald Giannone, Managing Member Nilson Schwartz is also extending its was immediately attracted to the com- reach into TV, creating, writing and set pany, particularly company partners 24 SHOOT October/November 2019 UP-AND-COMING DIRECTORS Moxie Takes On Werner, Chelsea Signs Clements For Ad Fare Robert Fernandez and Danny Levinson, Editing Emmy Award.) scheduled to start airing soon. for an opportunity elsewhere. Clements “their philosophy, way of doing business, Werner observed that he’s learned that Landing the comedic Lysol assignment got to team up with show correspondent how much effort they put into getting di- an important key to comedy is “com- reaffirmed Clements’ original assessment Ed Helms who was “funny, kind and gen- rectors work that is suited to their style. mitting to the bit, committing to what of Chelsea and what drew him to the erous.” The piece was a hit, with Stewart They were the only company I met with you’re doing, taking it seriously no matter company to begin with. “I met with (Chel- reacting by laughing so hard on camera that I felt I could fit in with pretty organi- how outrageous the premise--like Arme sea president) Lisa Mehling and was im- that he was unable to speak. Thus began cally, that my work and sensibilities didn’t Hammer having a serious conversation pressed,” he said. “She’s very smart and a three-and-a-half-year stay for Clements conflict or compete with other directors with William Henry Harrison as a wax experienced. They have a very talented, on The Daily Show, an experience which there. They have an incredible roster.” character.” The director has also enjoyed deep roster of directors. They work with he credits with teaching him how to make Werner’s path to the director’s chair infusing comedy with a visual style. And people like me from different fields--doc- comedy. “Every two weeks, I had to de- was DIY. “I didn’t go to film school. I of course, he’s had the opportunity to cre- umentary filmmakers, film directors, still liver a piece, which really got me to hone didn’t go to college. I was terrified of ate many different styles given the wide photographers--and no matter their back- my skills. The opportunity to work under student loans and debt. I saw too many range of projects, issues and premises grounds Chelsea does an excellent job of someone like Jon (Stewart) who’s incred- of my friends struggling with it. I just taken on by Last Week Tonight. shepherding and bringing them into the ibly brilliant, to see how his mind works, said, ‘screw it, I’ll try to do it on my own.” The show has also been a great train- commercial space.” how he approaches a topic, was invalu- Werner started making short films that ing ground for working with actors--both While he loves and is continuing his able. It helped me develop my own pro- “didn’t get me anywhere.” Then he be- new and star talent. “Actors want you to late night TV exploits, Clements is also cess. The cast we had back then was the gan working as a PA, which eventually led be prepared--prepared enough so that looking forward to extending his com- best--Rob Corddry, Ed Helms, Samantha to full-time work, at one point directing you can give them room to be able to col- edy reach into commercials and branded Bee, John Oliver.” and producing re-enactment segments laborate with you,” observed Werner who fare. Part of the attraction, he observed, Clements left The Daily Show in New for a true crime show on the Investigation first and foremost noted that he is able to Is “You get a little more time and budget, York to head out to Los Angeles when he Discovery network. Later came a gig on do good work because the material is so the chance to put a little more craft and sold a sitcom to CBS. A pilot was made HBO’s First Look, which took viewers be- stellar. “The show won its fourth consecu- painstaking attention to details in the that didn’t go to series so he found him- hind the scenes of movies. Through that tive Emmy for writing. From John to the commercialmaking world than as com- self looking to make the most of what endeavor and a connection he made on executive producers on down, the talent pared to late night. L.A. had to offer. For the next three years the true crime show, Werner got his foot is incredible and so supportive.” Clements honed his comedy and film- or so he wrote mostly, then started direct- in the door from the outset of Last Week making sensibilities through formal edu- ing some of the projects he had written. Tonight with John Oliver. “I was hired for Glenn Clements cation and varied experiences. He studied Then he began directing pretty much my logistics experience, then started pro- Glenn Clements’ filmmaking chops film and TV production at NYU where a exclusively, taking on some late night, ducing field segments,” he recalled, even- span such genres as comedy, variety and short film he did in his junior year hit primetime special and pre-taped bits for tually convincing the powers that be on musical as well as the disciplines of direct- the festival circuit, was sold to a distribu- award show assignments. the show that he could prove useful as an ing, writing and producing. tor and actually made money. After his A producer colleague he had worked in-house director who didn’t have to be Directorially he made a major mark formal studies, Clements worked in com- with previously asked Clements if he’d brought up to speed like outside directors this year, earning his first DGA Award mercials as a PA, took a job as a night be interested in The Late Late Show with hired for individual assignments. nomination for The Late Late Show Car- dubber at VH1--all the while looking to James Corden. “I hadn’t worked in late Werner said that Oliver and the EPs pool Karaoke Primetime Special. Shared position himself to eventually realize his night in awhile but James is an incredible were supportive and gave him the direc- with Tim Mancinelli, the DGA nod came aspiration to become a writer/director. talent so I joined. The team is brilliant torial opportunity he had coveted. The in the Guild competition’s Outstand- He took on a field EP role for the series and the show has grown so much.” result has been a mix of comedy and ing Directorial Achievement in Variety/ Tough Crowd With Colin Quinn, getting Fast forward to the present and he’s topical issues fare that has gained critical Talks/News/Sports Specials category. his comedy feet on the ground. This now a DGA Award nominee for a Late acclaim. Werner has also had occasion to An acclaimed late night television di- led to The Daily Show with Jon Stewart Late Show special, with his first commer- take flights of fancy to the charmingly rector and writer, Clements has worked where Clements passed a do-or-die test in cial at Chelsea under his belt. “I’m excited absurd, a prime example being a season on such programs as The Daily Show the form of making a film for the show. If and eager to do more commercial work,” five finale segment, “The Wax & The with Jon Stewart and currently serves as the piece played well, he’d be hired. If not, related Clements. “In short or long form, Furious.” Werner described the piece as the staff field director for The Late Late he would keep pounding the pavement I love working in comedy.” “absolutely stupid, and I mean that as Show with James Corden. For the latter, a complement. Arme Hammer leads a Clements directs Carpool Karaoke, Cross- team of wax figure U.S. Presidents to steal walk the Musical and various sketches. Russell Crowe’s jockstrap worn in the Now Clements is bringing his talents, The Best Place To Put Your Work To Work To Find You New Work. movie The Cinderella Man. It was com- particularly in comedy, to Chelsea Pic- edy, had action, explosions, gun fights. tures which recently became the first And though it was crazy, it was an incred- production house to handle him in the ible opportunity to do something of that ad market. Right out of the gate, the day scale, working with artists from the DP to he signed with Chelsea, Clements was put My.SHOOTonline.com the production designer to pull it off and in the running for a Lysol job which was make it look and feel right.” (“The Wax & ultimately awarded to him. He recently The Furious” recently won a Best Picture wrapped the spot which at press time was October/November 2019 SHOOT 25 On The Wire

Colorist Lucie Barbier-Dearnley Joins Sim, New York Sim has hired Lucie Life and Death in a Red Room Prodigiously multitalented, slightly off-kilter and Barbier-Dearnley as senior colorist. Barbier arrives from Company 3, London, and brings always with a surrealist approach, Danny Sangra once again proves he is a next generation expansive credits across features, episodic television and documentaries. Her first projects for filmmaker who has honed the art of observation. Lief proudly releases his latest work, Parlour Sim will include Aggie, and the feature You Should Have Left . Games, a smartly written short in which Sangra’s signature dark wit is as ever-present as the Hybrid Collective Diversity Award-winner Aviva Klein Attends Com- film’s red backdrop. mercial Directing Bootcamp On October 12, visual creative Aviva Klein attended charlieuniformtango Announces New Partners Lola Lott revealed that the studio Commercial Directing Bootcamp, as the recipient of a Diversity Award scholarship sponsored has named three of its most veteran artists as new partners. Joining tango’s leadership are cur- by Hybrid Collective. Since launching the Commercial Directing Bootcamp in 2015, filmmaker rent editors Deedle LaCour and James Rayburn, and Flame Artist Joey Waldrip. This is the first Jordan Brady has held sold-out seminars in Los Angeles, New York, Chicago and Dallas, with time in tango’s almost 25-year history that the partnership has expanded. All three will retain twelve Diversity Award-winners having attended thus far. their current work responsibilities but have received the well-deserved, expanded titles. Writer/Director Par Parekh Brings Short Film ‘The Happy’ To Austin Gentleman Scholar and M/H VCCP Get Psychedelic With The All-New Film Festival Director Par Parekh continues to garner recognition for his short film The Audi Q3 To showcase the all-new 2019 Audi Q3 all across the brand’s social metaverse, Happy. Having premiered at Series Fest in June 2019, the comedy short (and pilot of an in- full-service advertising agency M/H VCCP and PHD, the media agency of record representing tended series) has been selected to screen at Austin Film Festival as part of their Original Series Audi, unleashed the superpowers of creative production company, Gentleman Scholar. 1 program and will be eligible for awards in the short film category. Collective@Lair Immersive Experience Films Deliver Powerful Message Spittn Image Celebrates Director Luther Brown’s Emmy Award Nom; At The UN Climate Action Summit 2019 Two powerful immersive experience Unveils New Promotional Campaigns for FX’s “AHS” “Mayans” & “Pose” video films produced and directed by Manhattan based Collective@Lair filled the walls of Spittn Image celebrated Director/Choreographer Luther Brown’s Primetime Emmy Award the massive United Nations General Assembly hall for the UN Climate Action Summit 2019. nomination in September. The production company also unveiled new promotional print HBO Rents Lumberyard’s Sound Stage Facilities For Production of New and social media campaigns for long-time client FX Networks along with festival advances for Six-Part Miniseries LUMBERYARD Center for Film and Performing Arts announced that Shawnette Heard’s short film, “The Witching Hour.” HBO signed a contract to rent LUMBERYARD’s newly opened film production facility for a new Lief Signs Humanitarian Director Gillian Zinser Director Gillian Zinser is bring- miniseries, The Plot Against America. ing to London-based production company Lief a fresh and inspired voice in human-interest Daughter of America’s Original “Ghost Hunter” To Be Featured in New storytelling. TV Series Inspired by Her Legendary Father’s Work Travel Channel recently ALIBI Music Library Unveils New ATX Album, ‘Sorcery’ LIBI Music Library has debuted a new (10-part, hour-long) series entitled “The Holzer Files,” in which a dedicated para- announced the release of “Sorcery,” the newest album in its recently launched ATX catalog for normal team will investigate terrifying true hauntings from the recently discovered case files of high-end theatrical trailers and TV series. From epic magical quests and enchanted journeys to America’s first ghost hunter, Dr. Hans Holzer. Featuring Holzer’s daughter, Alexandra Holzer, a fantastic family adventures and whimsical mysteries. renowned author, journalist, and Paranormal Investigator in her own right. Evercast, LLC Appoints Steven B. Cohen as Evange- “Blinded by the Light” Director Gurinder Chadha list in Los Angeles Evercast, LLC, a Scottsdale, Arizona-based Joins Bully Pictures British director Gurinder Chadha, best developer of a powerful live-streaming collaboration platform, Toot Your Own Horn! known for films including Blinded by the Light and Bend It Like has hired Steven B. Cohen as Evangelist to enhance their offer- Beckham¸ is entering the U.S. advertising market for the first time ings, support their growth and technology adoption in Media & via Bully Pictures. Entertainment. publicity wire It’s The Shoes: BLOCK & TACKLE Packages Director Jenée LeMarque Joins Altered.LA For “SneakerCenter” For ESPN, Director Bobbito Commercial Representation Coming off directing an epi- pr.SHOOTonline.c García and Hock Films On July 12, exclusively on ESPN+, sode of the much-anticipated Party of Five reboot, Jenée LeMarque ESPN released a special preview episode of “SneakerCenter,” the has joined Altered.LA and its eclectic roster of directors. Jenée is a Latinx filmmaker who grew original seven-part miniseries devoted to sneaker culture across sports, entertainment and up in Claremont, CA and graduated from Stanford with a B.A. in English with a creative writing more. Featuring the star athletes, artists, enthusiasts and brands powering the global sneaker emphasis in poetry. She received her M.F.A in Screenwriting from The American Film Institute. marketplace, the series - directed by award-winning filmmaker and acclaimed author Bobbito ArsenalCreative Adds Commercial Color Services To Client Offerings, García - officially premieredon ESPN+ last month. and Names Derek Hansen as its New Commercial Colorist ArsenalCreative, One Union Recording Studios Receives Dolby Atmos Certification a commercial post-production house, has added Commercial Color Services to its roster of One Union Recording Studios, the Bay Area’s premiere provider of post-production sound existing client offerings, and has concurrently named Derek Hansen as its new Colorist. Most services, has received certification from Dolby Laboratories to provide sound mixing services recently, Hansen had been a Colorist with The Mill since 2015. in Dolby Atmos for Home Entertainment. The certification applies to One Union’s Studio Four EOS Lab Comes To Life In Spot From Caviar’s Directing Duo Los Perez and includes a Dolby Laboratories wall plaque signifying that the space conforms to technical and Mekanism Produced by Caviar for Mekanism, the film “Make It Awesome” highlights specifications consistent with the immersive sound format. EOS’ commitment to sustainably sourced ingredients and great flavors by taking the viewer on Rising Sun Pictures’ Thomas Maher Helps Young Artists Turn Their a journey through a colorful laboratory that exists inside one of their iconic spherical lip balms. Passion into Careers Thomas Maher is the youngest member of the teaching staff at Splash Worldwide’s New Content Studio Attracts Collette Galvin as Busi- Rising Sun Pictures Education. Tom has proven popular among students for his knowledge of ness Development Lead Creative technology company Splash Worldwide announced Houdini, knack for making difficult concepts seem simple, and the enthusiasm he brings to the the immediate addition of Collette Galvin as Business Development Lead for the company’s classroom. newly formed global content and production offering, Splash Studios. Her appointment was MPSE To Honor Victoria Alonso with Filmmaker Award The Motion Picture announced by Splash’s Global Head of Content, Phil Conway. Sound Editors (MPSE) announced that it will honor Victoria Alonso with its annual Filmmaker MTI Film To Unveil New Tools for CORTEX and DRS™Nova MTI Film Award. As executive vice president of production at Marvel Studios. will demonstrated the newest versions of CORTEX, its workflow mastering solution, and DRS™Nova, its industry-leading digital restoration software, at NAB Show New York. For the full stories [and many more], contacts info and videos with credits, Sigma Corporation of America, a leading camera, Sigma fp To Begins Shipping visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to photography lens, cine lens, flash and accessories manufacturer, announced that its all-new announce your news or video release to amp up the “buzz” among the entertain- full-frame mirrorless digital camera, the Sigma fp, will began shipping on October 25, 2019. The ment & advertising industries motion picture segments’ movers and shakers from Sigma fp retails for $1,899 USD for the camera body alone and $2,199 USD for the camera with Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get the Sigma 45mm F2.8 DG DN Contemporary lens from authorized Sigma dealers. more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com

26 SHOOT October/November 2019 ROAD TO OSCAR Barbara Ling Designs Once Upon a Time...in Hollywood Continued from page 8 tion needed for the project, with skin thing from the commercial world and was so descriptive of the characters, the ing Thor: Ragnarok. tones taking on a velvety quality, under- show it to a movie director who will be people, an extremely exciting read.” Malaimare recalled that during re- scoring “a very alive feeling without be- responsive to what you’ve captured.” Set in L.A. in 1969, this hybrid drama- hearsal for the actors, Waititi was willing ing overly cinematic.” Malaimare began his film career at the comedy introduces us to an actor (Rick to talk to him about how to best photo- Locations also lent themselves well National University of Theatre and Film Dalton, portrayed by Leonardo DiCaprio) graph scenes, “I couldn’t hope for better to Malaimare's lensing. To bring Jojo’s in Bucharest. He shot several shorts and who’s fallen from stardom but still land- collaboration as we saw the performances fictional hometown of Falkenheim to features in Romania before auditioning ing some roles based on his past fame. and the visual approach develop,” af- life, the production turned to a couple of for and getting the chance at the age of He and his stunt double (and best friend, firmed the DP. small towns in the Czech Republic which 29 to shoot writer/director Francis Ford played by Brad Pitt) are navigating a A coming-of-age satiric hybrid com- Malaimare said dovetailed perfectly with Coppola’s Youth Without Youth, a period changing entertainment industry land- edy-drama, Jojo Rabbit centers on a the period piece, looking historic with drama which garnered an Independent scape. Looming over this nostalgic look 10-year-old boy--the title character (por- minimal signs of modern times. This af- Spirit Award nomination for Best Cin- at Hollywood are Charles Manson and trayed by Roman Griffin Davis)--growing forded him the freedom to often shoot ematography. Malaimare went on to lens his disciples as Dalton moves into a home up in World War II Germany. His imagi- 360 degrees without compromising the two more features for Coppola, the drama next door to the residence of Roman Po- nary friend is Adolf Hitler, a strangely quest for authenticity. Tetro and the surrealist genre film Twixt. lanski and Sharon Tate. inspired rendition of whom is played by Still it was the collective effort from Then The Master came, rising Malaim- Ling noted that Tarantino immersed Waititi. The lad lives with his mom (Scar- all the departments, from production are’s industry stock as a cinematographer all his collaborators in that era. She re- lett Johansson) and for a time unknow- design to costume design, visual effects exponentially. Malaimare’s other feature called location scouting with him. In the ingly with a Jewish girl (Thomasin McK- and camerawork--along with “amazing credits include writer/director Scott car or van each day, Tarantino played a enzie) who is hiding in the attic to escape acting”--that defined Jojo Rabbit. On the Frank’s A Walk Among The Tombstones, KHJ radio station audiotape from that Nazi persecution. When Jojo discovers latter front, Malaimare observed that per- director Sacha Gervasi’s November Crimi- time period. “We heard all the music, all and gets to know her, he begins question- haps the biggest takeaway from his expe- nals and Baran bo Odar’s Sleepless. that was happening that day, like Sirhan ing what he’s been told about Jews--and rience on the film was that “child actors Sirhan going on trial (for the assassina- for that matter, the world. can be amazing. Roman and Thomason Barbara Ling tion of presidential candidate, Sen. Bobby Seen through a boy’s vivid imagina- were great. I never thought I would see so For production designer Barbara Ling, Kennedy),” said Ling. tion, Jojo Rabbit presents a different POV much commitment and professionalism the allure of Once Upon a Time...in Hol- At the same time, while hearkening of Germany in WWII, full of bright colors from performers at such a young age.” lywood (Sony-Columbia Pictures) was back to another era, Tarantino is very and natural beauty, a major departure Jojo Rabbit adds to a filmography for simply getting the chance to work for much in the moment, according to Ling. from the drab, oppressive look and feel Malaimare which includes such notable the first time with writer-director Quen- “I’ve never seen a filmmaker more ex- normally depicted. features as last year’s The Hate You Give tin Tarantino, a two-time Oscar winner cited during a meeting. His love of film- Helping to put Malaimare in tune with directed by George Tillman, Jr., and The for his screenplays for Pulp Fiction and making, besides being infectious, makes this child-like vision was the realization Master helmed by Paul Thomas Ander- Django Unchained. everybody excited to be there--because that it wasn’t a figment of the imagina- son. The Master won five best cinema- tion. The cinematographer viewed some tography awards, including one from the recently resurrected color footage of National Society of Film Critics. Germany during that era. Those images Malaimare additionally shot the pilot reflected a world alive with color, akin to episode for the upcoming ABC prime- what Jojo experiences. time drama series For Life, also directed Malaimare noted. “We have seen so by Tillman Jr. Additionally, Malaimare is many muted period films from WWII, prolific in the advertising arena, shoot- whether in black and white or in more ing commercials for clients including somber colors, that we are shocked to see Apple, Nike, Samsung, Sony, Hulu and such a vibrant spectrum of color. But that Toyota. His spot credits feature perfor- was the reality and once we decided to mances from world-class athletes such as reflect this, it was an idea that circulated LeBron James and Lionel Messi, movie through the set design and the costumes talent including Jon Hamm, Jamie Foxx and helped to set the tone Taika wanted and Spike Lee, and music performers like

for the story. It feels a little strange to the Taylor Swift, Adam Levine, Drake, Nikki Cooper/courtesy Andrew by of Sony-Columbia Pictures Photo audience only because we are not used to Minaj and Sean Combs. Brad Pitt in Quenin Tarantino's Once Upon a Time....in Hollywood it, but the color I think makes it more real Malaimare has found commercialmak- “It’s been a dream of mine,” she he’s so excited to be there. His love of the to us.” ing to be a great space for experimenta- shared, noting, “The minute I read the process is like no other’s. He’s like a kid Malaimare deployed ARRI Alexa SXT tion visually and in terms of working script for Once Upon a Time...In Hol- in a candy store. He loves every aspect cameras in tandem with Hawk V-light with different technology he’d never get lywood, my brain exploded with an ‘oh, of working on something. I’d show him squeeze anamorphic 1.3X lenses. The the chance to use in his feature film en- my God’ reaction. This is my town (L.A.), a dressed set and then he’d tell me there DP related that standard anamorphic 2X deavors. “It’s an amazing medium. You my life, though it goes back to when I was were a couple of things he wanted to add. lenses didn’t yield the desired look. The learn so much when you have only thirty a teenager. The script itself was just ex- The trunk of his car opens and he pulls 1.3X glass helped attain the color satura- seconds to tell a story. You can take some- traordinary, almost like reading a novel. It Continued on page 30 October/November 2019 SHOOT 27 QUARTERLY 2019 TOP TEN TRACKS MUSIC & SOUND TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION

Jif’s “Bunker” Beacon Street Studios, Venice, Calif. Harbor Picture Company, Publicis New York Hungry Man, Andrew Felteinstein, John Nau, Danny Dunlop, composers; Leslie DiLullo, exec Santa Monica, Calif. bicoastal 1 producer; Rommel Molina, sound designer Steve Pirsky, mixer Wayne McClammy, director CLICK HERE TO VIEW WORK > See SHOOTonline.com for backstory on Chart’s #1 entry

Monica Lewinsky Human, New York Post Human, New York BBDO New York Sanctuary, Los Angeles Anti-Bullying Sloan Alexander, composer/creative director; James D. Wells, exec producer Sloan Alexander, chief engineer Cole Webley, director Campaign’s 2 “The Epidemic” CLICK HERE TO VIEW WORK > Squarespace’s “Garage” Q Department, New York One Thousand Birds, bicoastal Squarespace, in-house Anonymous Content, Torin Geller, mixer; Kira MacKnight, exec creative bicoastal 3 producer; Alex Berner-Coe, producer Patrick Daughters, director CLICK HERE TO VIEW WORK >

The North Face’s Squeak E Clean Studios, Los Angeles Lime Studios, Santa Monica, Calif. Sid Lee, New York Gloria, Los Angeles “FUTURELIGHT--Made Track title: “Breathwork” Lindsay Morris, composer; Rob Barbato, creative director; Zac Fisher, mixer Rodrigo Valdes, director to Defy” Amanda Patterson, sr. producer LSD, Santa Monica, Calif. 4 Michael Anastasi, sound designer CLICK HERE TO VIEW WORK >

Ubisoft/Tom Clancy’s Barking Owl, West Los Angeles, Calif. Barking Owl, West Los Angeles, Calif. Argonaut, San Francisco Minted Content, Ghost Recon’s Morgan Johnson, sound designer; Houston Fry, music editing (of licensed work from Matt Keith, mixer Santa Monica , Calif. 5 “Warring With Weezy” Lil Wayne, libraries) David Leitch, director CLICK HERE TO VIEW WORK >

Porsche Taycan’s Yessian Music, Hamburg and New York Staub Audio, Grabarz & Partner, BWGTBLD GMBH, Berlin “Hey Electricity” Dan Zank, composer; Ingmar Rehberg, EP; Lukas Lehmann, Helena Schmitz, produc- Dusseldorf, Germany Hamburg, Germany Per Hampus Stalhandske, ers; Brian Yessian, chief creative officer; Michael Yessian, head of production; Robin director 6 Grosskopf, sound designer Staub Audio, Dusseldorf, Germany CLICK HERE TO VIEW WORK > sound design Blue Moon’s “Routine”” SOUTH Music & Sound, Santa Monica, Calif. Sonic Union, New York DDB Chicago Anonymous Content, Matt Drenik, Jon Darling, creative directors; Mike Semple, songwriter; Ann Haugen, Steve Rosen, Julienne Guffain, sound Alec Stern, director of music bicoastal exec producer; Laura Phillips, vocalist engineers; Pat Sullivan, producer Tim Godsall, directors 7 Sonic Union, New York CLICK HERE TO VIEW WORK > Steve Rosen, sound designer

Samsung Galaxy’s Walker Music, bicoastal Eleven, Santa Monica, Calif. Wieden+Kennedy, Somesuch, Venice, Calif. “More of Us”” Sara Matarazzo, owner/producer; Stephanie Pigott, producer Jeff Payne, mixer; Andrew Smith, as- Portland, Ore. Abteen Bagheri, director 8 sistant mixer; Melissa Elston, producer CLICK HERE TO VIEW WORK >

Samsung’s “Alpaca” Soundtrack: “Apache,” Sound Lounge, New York BBH New York MJZ, bicoastal/international Incredible Bongo Band/Grandmaster Flash remix Tom Jucarone, mixer; Alicia Rodgers, Nicolai Fuglsig, director 9 exec producer CLICK HERE TO VIEW WORK >

Fanta’s New Math, Los Angeles TBD Post, Austin, Texas Preacher, Austin, Texas London Alley, “It’s A Grape Thing” Dan Sammartano, composer/sound designer; Kala Sherman, exec producer; Jake Dusty Albertz, sound engineer; Joel Pettit, Culver City, Calif. & London 10 Falby, producer producer WATTS, director CLICK HERE TO VIEW WORK >

28 SHOOT October/November 2019 QUARTERLY 2019 TOP TEN VISUAL EFFECTS & ANIMATION TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION UMG/Mer- Friends Electric, London & LA; Woodblock, Berlin; Studio Seufz, Stuttgart Belinda Blacklock, EP/producer; Ilija Brunck, Jona Brunck, none Friends Electric, London , LA cury Phoenix Stefan Michel, EPs; Sandra Brandstätter, character design; Kim-Quy Nguyen, Beth David, Esteban Bravo, storyboard & animatic; Kiana Woodblock, Berlin Trust/Freddie Naghshineh, colorscript artist; Benedikt Hummel, FX animator & editorial; Janina Putzker, animation supervision, layouts, FX anima- Studo Seufz, Stuttgart Mercury’s tor, animation & clean-up; Sonia Melnyk, animation & clean-up, color artist; Heidi Yilun Chen, Laura Staab, Elena Walf, Sabine Koops, Beth David, Esteban Bravo, 1 “Love Me Like Nora Marie Back, Isabelle Piolat, Kim Liersch, animation & clean-up; Simone Pivetta, 3D artist; Samuel Rassy, Carlotta Biesenbach, directors There’s No Nora Marie Back, Elena Walf, color artists; Kiana Naghshineh, background artist; Sarah Eim, compositing lead; Tobias Stärk, Thorsten CLICK HERE TO VIEW WORK > Tomorrow” Lö er, Paul Schicketanz, Csaba Letay, compositing. (Toolbox: ToonBoom Storyboard Pro, TV Paint, After E ects, Nuke, Premiere) See SHOOTonline.com for backstory on Chart’s #1 entry “I Am With Norma V. Toraya, aka Crankbunny, anmation; Chanel Miller, writer, director, illustrator; Emily Moore, director, producer. Ali Mao, editor. none Chanel Miller, Emily Moore, You,” book (Toolbox: Photoshop, After E ects) directors trailer for Arcade Edit, New York Emerald Pictures Chanel Tristian Wake, Flame Artist (live-actiom production), 2 Miller’s (Toolbox: Flame) Los Angeles “Know My CLICK HERE TO VIEW WORK > Name” MoneySuper- Framestore, London Engine, London MJZ, Market’s Jules Janaud, VFX supervisor; Jordi Bares, creative director; Sherrine By eld, 2D lead; Matthew Thomas, compositor Gez Wright, bicoastal/international “Bears” lead animator; Ross Burgess, Joseph Kane, Robbie Brown, animators; Andy Butler, Leo Schreiber, rigging; Joel Best, Gabriela Ruch Matthijs van Heijningen, Salmeron, Mary Doyle, Bear asset team; Alice Roseberry Haynes, Omar Jason, modeling/texture/look development; Mathias Cadyck, director 3 ltg; Valerio DiNapoli, Stephen Moroz, Ahmed Gharraph, FX team; Paul O’Brien, Flame; Simon Bourne; colorist; Gavin Hyde, editorial; Christopher Gray , EP; Emma Hughes, CG coordinator.(Toolbox: Houdini, Nuke) CLICK HERE TO VIEW WORK >

Cashmere The Mill, Los Angeles none Park Pictures, bicoastal/ Cat’s “ Pete King, EP; Daniel Beldy, producer; Michael Novo, prodn coordinator; Glyn Tebbutt, Daniel Thuresson, shoot supervisor; Glyn Jake Schreier, director Emotions” Tebbutt, creative director; Lisha Tan, creative director, character development; Juan Zavala, Matt Connolly, animation; Ed Laag, (music video) Sasha Vinogradova, Sidney Tan, design. Emerging Tech The Mill Aurelien Simon, EP; Hiro Miyoshi, developer; Dave Witters, Troy 4 Barsness, technical artists; Tawfeeq Martin, technical innovations manager. CLICK HERE TO VIEW WORK > (Toolbox: Unreal, Maya, Houdini, Flame, Shogun)

IKEA Canada’s a52, Santa Monica, Calif. Rethink, Toronto, Scouts Honour, Toronto “Stuff Jesse Monsour, VFX supervisor, 2D VFX artist; Andy Wilko , CG supervisor; Richard Hirst, Hugh Seville, Narbeh Mardirossian, 2D VFX Montreal, Vancouver Mark Zibert, director Monster” artists; Adam Rosenzwieg, Alejandro Castro, Andy Wilko , Daniel Jensen, Dustin Mellum, Evan May eld, Ian Ruhfass, Joe Chiechi, 5 Joe Paniagua, John Riggs, Josh Dyer, Max Ulichney, Michale Bettinardi, Michael Cardenas, Mike Di Nocco, Suzi Little, 3D artists; Chris Riley, online editor; Scott Boyajan, producer; Patrick Nugent, Kim Christensen, exec producers; Jennifer So o Hall, managing director. (Toolbox: Flame, Maya, Vray, Photoshop) CLICK HERE TO VIEW WORK >

Chobani’s LOBO, New York none LOBO, New York “Impact” Mateus de Paula, director; Fabio Acorsi, director, animation coordinator & animatic; ; Luis Ribeiro, EP; Clara Moreli, Rosangela Mateus de Paula, Fabio Acorsi, Gomes, heads of prodn; Karen de Moura, Priscila Benattti, postproduction; William Santiago, Arthur Duarte, illustration; Bruno H. directors Costa, storyboard & cleanup; Anderson Omori, Chan Tony, Paulo Passaro, 2D animation; Michel Venus, Francisco de Assis, Bruno 6 Curcino, cleanup; Estevão Santos, Ricardo Filomeno, Bruno Ronzani, Francisco Beraldo, Julia Góes Sampaio, André Finhana, motion graphics/composition. (Toolbox: Photoshop, After E ects, Flash, Toon Boom, Premiere) CLICK HERE TO VIEW WORK >

Paramount ATK PLN, Dallas ATK PLN, Dallas ATK PLN, Dallas Animation Patton Tunstall, creative director/CG supervisor; Justin Skerpan, producer; Shannon Thomas, lighting lead; Chad Moseley, cloth & David Moodie, director Logo hair; Daniel Ries, surfacing; Jackson Armstrong, end logo animation & FX; Jose Sebastian Gomez, executive creative director; David 7 Bates, managing director (Toolbox: Houdini, Octane, cusotmized technical pipeline) CLICK HERE TO VIEW WORK >

Nestle Health Zombie Studio, Sao Paulo, Brazil FCB Health Brasil Zombie Studio, Sao Paulo Science’s Paulo Garcia, director; Daniel Salles, Yohann da Geb, creative directors; Natalia Gouvêa, exec producer; Antonela Castro, Marcio Paulo Garcia, director “Malu” Lovato and Leticia Harumi,producers; Gustavo Rangel, CG supervisor & composition; Ricardo Alves, Boson Post, composition. 8 (Toolbox: Photoshop, Maya, Zbrush, Arnold, Nuke, Davinci) CLICK HERE TO VIEW WORK >

Ubisoft/ Eight VFX, Santa Monica, Calif. Argonaut, San Francisco Minted Content, Tom Clancy’s Paulo Garcia, director; Daniel Salles, Yohann da Geb, creative directors; Natalia Gouvêa, exec producer; Antonela Castro, Marcio Santa Monica, Calif. Ghost Recon’s Lovato and Leticia Harumi,producers; Gustavo Rangel, CG supervisor & composition; Ricardo Alves, Boson Post, composition. David Leitch, director 9 “Warring (Toolbox: Photoshop, Maya, Zbrush, Arnold, Nuke, Davinci) with Weezy” CLICK HERE TO VIEW WORK >

Seriously/ Reel FX Animation Studios, Dallas Augusto Schillaci, art dir/VFX supervisor; Rod Douglas, storyboard artist; Vincent Bisschop, Fed- none Reel FX Animation Studios, Best Fiends’ erico Moreno Breser, Nicolas Villareal, art dept; Tom Jordan, modeling supervisor; Douglas Bell, Megan Sha er, surfacing supervisor; Dallas “The Chris Browne, character FX supervisor; Yuri Martell, matte painting; Dan West, layout lead; Eddy Lowinski, FX supervisor; Tony Fan, Augusto Schillaci, director 10 Immortal Evan Robinson, Jyota Malcolm, Matthieu Bruneau, FX; Keenan Pro tt, environment supervisor; Martin Ferland, animation supervi- Cockroach” sor; Kirby Atkins, Kosta Dracopaulos, Jason Park, Justin Ustel, Syuan-Ru Wu, Anna Masquelier, Tiago Ferreira, Chris Burnham, Helene CLICK HERE TO VIEW WORK > (short) Papet, animation; Kelsey Craig, Jessica M. Hogan, ltg supervisors; Seth Schwartz, CG supervisor.(Toolbox: Maya, Nuke)

October/November 2019 SHOOT 29 ROAD TO OSCAR

Ling, Richardson Reunite The READY Initiative, an apprenticeship for young people who have experienced homelessness and are suited to a creative career, has Continued from page 27 connection in films and commercials. been launched. The initiative is a partnership between RAPP UK, youth out a little mug or something else. He And it was an incredibly exciting process homelessness charity Centrepoint and education specialist Creative lives for every little piece.” to be working as what I call the tripod- Pioneers to find and develop these individuals. The 15-month salaried apprenticeship includes working on live briefs, the ongoing support Additionally, continued Ling, Taran- -Quentin, Robert and myself--on Once of a bespoke mentor network, an agency starting salary and the same tino “wants everything to be in the real Upon a Time...in Hollywood, making sure benefits as other full-time employees. After providing them with world, not in front of green screen. We we were backing up each other as we a brief to test their creative potential, candidates are shortlisted by reconstructed four blocks of Hollywood went after just the right visual style and RAPP UK to take forward to spend time in the agency. The candidates Boulevard to bring back that era--with- color saturation for the movie.” will spend three weeks working across different parts of the creative out stopping tourists, without being able That process, concluded Ling, was par- department and present back what they have learnt at the end. One to close any buildings. Giant cranes put ticularly remarkable because it entailed will be taken forward to the apprenticeship and the remaining candidates will up the original signage. We also did the “the excitement of doing things practi- receive career coaching and support. The successful apprentice will be enrolled same for Westwood, recreating the facade cally which is not really done much any- in the Creative Pioneers Junior Content Producer course. This involves spending a of a building, accounting for all the little more due to financial reasons. The focus day each week learning about art direction, copywriting, video production, social details.” is on what you get done viscerally in de- media, blogging, and content creation skills.....U.K. director Barney Cokeliss has Doing this on the fly in such short sign and interaction with the characters. joined Toronto production company Someplace Nice for Canadian representation. order wouldn’t have been possible with- It’s a movie that’s a real movie. It’s not a He continues to be handled by THEM in the U.S. and by Dark Energy in the U.K. His out the artistry of Nancy Haigh, whom Marvel or a DC movie which also has its credits include Macmillan Cancer Support’s “Falling,” ongoing fare for the National Ling described as “one of the greatest artistry. CGI has opened up doors for us Health Service, a large campaign for CIC Bank, NHTSA’s “No Good Excuse” and MiWay’s “Live Your Way.” Cokeliss’ stereoscopic short The Foundling, commissioned by Philips, tells the tale of an exceptional boy’s life in the circus. It received gold at the British Arrows advertising awards. His film Night Dancing premiered at TIFF and is currently completing a festival run in which it has won over 10 international awards and was chosen for Lincoln Center’s “Dance on Camera” dance film festival. His other short film work has been selected by festivals including Sundance and Venice.....

DP John Matysiak has joined Innovative Artists for commercial representation. He has shot some of the biggest names in music, Photo by Andrew Cooper/courtesy Andrew by of Sony-Columbia Pictures Photo particularly the country genre, including stars like Jason Aldean, Leonardo DiCaprio in Once Upon a Time...in Hollywood Kane Brown, Kings of Leon and Miranda Lambert. Matysiak has a set decorators of all time.” Ling’s second to create whole new worlds and visions. wide array of commercial experience, spanning brands such as Audi, ever project, a TV assignment back in the But it’s still fabulous to do a real period Bose, Chevy, ESPN Monday Night Football, Lexus, Mountain Dew 1980s, marked her first time collaborating piece, particularly with Tarantino. It’s an and Spotify. Also coming aboard the Innovative Artists roster for spot with Haigh, a seven-time Oscar nominee incredibly exciting visual proposition.” representation is production designer Leigh Poindexter who is local to L.A. and in the who won for Bugsy in 1992. It took nearly 800 Union. Poindexter’s recent work features global musicians like Paul McCartney 30 years for them to get back together, on This is the second of a 16-part series with and Sia, with recent narrative projects selected for the Sundance Film Festival and Once Upon a Time...in Hollywood. Ling future installments of The Road To Oscar SXSW.....Cinematographer Greig Fraser, ASC ACS--who’s repped by UTA--has added described their working reunion as a joy. slated to run in the weekly SHOOT>e.di- The Batman to his schedule, which also includes The Mandalorian, coming out Nov. Another Once Upon a Time... highlight tion, The SHOOT Dailies and on SHOOT- 12, and Dune, scheduled for release Nov. 18, 2020.....Cinematographer Matthew for Ling was teaming again with cinema- online.com, with select installments also in Libatique, ASC--also handled by UTA--will be shooting Casey Nicholaw’s The Prom for tographer Robert Richardson, ASC, a print issues. The series will appear weekly Netflix....DP --who’s repped by Dattner Dispoto and Associates (DDA)-- nine-time Academy Award nominee who through the Academy Awards gala cere- shot 6 Underground which makes its way to Netflix on December 13. Starring Ryan won three times for his lensing of JFK, mony. Nominations for the 92nd Academy Reynolds, 6 Underground is the first Michael Bay-directed project for any streaming The Aviator and Hugo. Ling had worked Awards will be announced on Monday, service. The action-packed film centers around six billionaires who take criminal with Richardson on Oliver Stone’s The January 13, 2020. The 92nd Oscars will justice into their own hands by forming a vigilante group after faking their own Doors. Richardson also was instrumental be held on Sunday, February 9, 2020, at deaths. Bazelli also has director William Eubank’s horror thriller Underwater hitting in her breaking into the ad arena. “I did the Dolby Theatre at Hollywood & High- cinemas on January 10. After an earthquake destroys the underwater research lab an enormous amount of commercials land Center in Hollywood, Calif.,and will where stars and T.J. Miller work, a deadly monster threatens to take their lives as they try to make their way back to safety.....Jeff Cronenweth, ASC-- with Bob,” related Ling. “He pulled me be televised live on the ABC Television who’s also repped by DDA--lensed the long-awaited adaptation of James Frey’s into the commercial world way back. He Network. The Oscars also will be televised controversial memoir. The film comes to the big screen on December 6.... was directing and shooting at that time live in more than 225 countries and terri- for MJZ, and then Tool. We have a visual tories worldwide. 30 SHOOT October/November 2019 Chat Room Scott Z. Burns Writer-director reflects on The Report

By Robert Goldrich gists who devised it. I started looking into Scott Z. Burns has worn different industry it, trying to find more detail. Then the hats with great aplomb. He was a producer Senate Intelligence Committee report on the Oscar-winning feature documentary came out that Dan led. An Inconvenient Truth and then its sequel. His Eventually Dan and I wound up having a writing credits range from director Paul Green- drink. We talked about how the report came grass’ The Bourne Ultimatum to Steven Soder- to be. I felt the story of the report was an im- bergh’s The Informant!, Contagion, Side Effects portant as the story it tells. I also felt it was time and the recent Netflix release Laundromat. for me to try to write a script about a hero in- Photos from the pages of SHOOT Magazine and SHOOTonline.com Now he has further extended his filmogra- stead of someone who might have been a liar. phy and storytelling reach with The Report (Amazon) which he not only wrote and pro- SHOOT: What was the biggest challenge Invest In Your Future Success duced but also directed. Slated for a Novem- posed by The Report? ber 15th release, The Report is the second fea- With A SHOOT Membership! ture directed by Burns, the first being Pu-239, a Burns: From a screenwriting standpoint, Utilize Member-Only Digital Tools “I felt the story of the report Promote Your Talent & Work + Get was as important as the story SHOOT Archives Access & More! it tells. I also felt it was time Starting at only $14.95 a month, SHOOT Membership provides unlimited for me to try to write a script access to SHOOTonline Databases & SHOOT Print PDF issue archives, a link to about a hero." your website in all past & future SHOOTonline articles in which you or your company is mentioned and , most importantly, you can set up a MySHOOT 2006 release. He has also ventured out direc- the biggest challenge was taking a 6,700 Company and / or Talent Profile(s) and MyNewsroom & more. torially into television with episodic credits on page report that turned into a 500-page Californication (Showtime) and this season’s summary and then trying to get that into Member Benefits.... with more features added regularly The Loudest Voice (HBO), the minseries which the form of a 120-page screenplay. This • Individual “Plus” & “Premier” Members get: MySHOOT Talent profile & Reel. starred Russell Crowe as Fox News founder constant boiling down of the information • “Business” Members get: MySHOOT Company profile & Reel + up to 10 Roger Ailes. was the challenge, trying to figure out Talent Profiles each with Reel. Earlier in his career, Burns was an advertis- what was the best way to try to illustrate • “Enterprise” Members get: MySHOOT Company profile & Reel + up to ing agency creative and then a commercials the depth and breadth of the report. I 30 Talent profiles each with Reel. SHOOT promotes MySHOOT profiles with online & email newsletter marketing. director. He was part of the creative team at ended up doing something Dan had done MyNewsRoom: Curate a personal or company news page on your Goodby Silverstein & Partners that brought us in the report--relying on the stories of a • website & in your MySHOOT profile with ANY web content from SHOOT, the iconic “Got Milk?” campaign. few detainees. I picked three or four to fo- SPW & external news and features. Now Burns finds The Report in the awards cus on who allowed the viewer to under- Copies of SHOOT Magazine print issues & access to all SHOOT archives season conversation. Based on actual events, stand how this program came to be, how • • Can post multiple Classified Ads the film stars Adam Driver as Daniel J. Jones it came to be identified as ineffective and Smart hyperlink added to name in ALL past & future SHOOT & SPW Content who is tasked by his boss, Sen. Diane Feinstein how it was misrepresented to the public • PDF of Annual NDS Event Registration/Attendee Directory + (Annette Bening) to lead an investigation of • and Congress. Guaranteed seating at event. the CIA’s Detention and Interrogation Pro- I relied on doing a table read with the script, gram, which was created in the aftermath of something I had never really done with a film Why do I want a MySHOOT profile? To get more work 9/11. Jones’ relentless pursuit of the truth leads project before. I had written a play previously by positioning your profile & work where commercial & entertainment to findings that uncover the lengths to which to doing this. And in (live) theater, there are production/post decision-makers will see it. MySHOOT is a dynamic the nation’s top intelligence agency went to countless table reads. I relied on that to hear commercial, movie, TV & Video production and post talent database for destroy evidence, subvert the law, and hide a the story out loud and to identify redundan- production/post/VFX/music/sound artisans & the companies, rep firms & brutal secret from the American public. cies, to see if it would bore people, to deter- agents that represent them, to share their profiles and work with potential mine how far I should go. That was helpful. clients who visit SHOOTonline every day for the latest industry information, SHOOT: Provide some backstory on The As a director, the challenge was com- news, trends, ideas and work. Report. What drew you to the story? ing up with a cinematic language that Whatever segment of the industry you’re in and whether your would allow me to have flashbacks work is :15, :60, or 2:00 hours a SHOOT Membership will make Burns: My first exposure to the Deten- that weren’t going to confuse people you smarter, more visible, and more connected. tion and Interrogation Program that the in terms of the time period of the film. CIA had was a piece in Vanity Fair titled SIGN UP: MEMBERS.SHOOTONLINE.COM “Rorschach and Awe.” It was about the For the full interview, visit SHOOTonline. origin of the program, the two psycholo- com or check out the 10/25 SHOOT>e.dition. October/November 2019 SHOOT 31 FOR YOUR CONSIDERATION OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM - MARTIN SCORSESE

“AN ENTHRALLING KNOCKOUT. Martin Scorsese is working here at full power — the jittery sweep of his voice, the intuitive music of his camera movement, the classic volcanic eruptions of male rage.” VARIETY

TIME CHANGES NOTHING

NETFLIXGUILDS.COM

SHOOT MAGAZINE, COVER 4 ISSUE: ROAD TO OSCAR FEATURE NETFLIX: THE IRISHMAN PUB DATE: 10/28/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125”