Fri 6 Sept
BUFF PRIDE x @irisprize Programme hosted by @CampbellX
5-7 🌈 Fee (Dir: @guenmurroni): Fee is out celebrating with her friends on the night of her legal change, but a voice from the past keeps plaguing her.. https://www.britishurbanfilmfestival.co.uk/event/buff-pride-iris-prize-screening/
And with @xavierdolan’s premiere of #matthiasandmaxime I wrap my #Cannes2019 experience. Dolan’s new film is packed with strength and truth, a very intimate and personal portrait of his relationship with sexuality and friendship; very different than the big #thedeathandlifeofjohnfdonovan which I got to watch two months ago, and a new style and rhythm that marks- as he suggested- new beginnings and somewhat of a departure from his old films. I loved this film, and it was very sweet to see Dolan being so moved by the standing ovation (perhaps even more after the difficulties with #johnfdonovan) ~Au revoir @festivaldecannes! I’m physically exhausted, but deeply affected, inspired, and mentally/intellectually energized and nurtured: merci beaucoup! ... and to everyone who made this year posible for me despite the last minute challenges and changes. Ready to keep working...
Love and peace❤️✌🏼🎥
Ari Aster, the director behind 'Hereditary' and 'Midsommar', breaks down some of his best film tips!
For Ari, making comprehensive storyboards is a must and he shares this with various department heads. The idea is that everyone is on the same page during all stages of production. This minimizes the risk for confusion.
In terms of "embracing genre" and being a genre filmmaker, Ari says, he favors it because built-in audiences for genre content can turn hard-to-market premises into highly commercial content! This is HUGE.
Instead of getting expansive coverage, Aster prefers to go in knowing exactly what he's going to shoot & often prefers long master shots and unbroken takes. "Making films for me is just like this horribly prolonged grieving process of having to make compromises. Sometimes they’re small, sometimes they’re huge. In shooting, you’re racing. Like, if you get stuck on one shot, then you’re compromising all the other shots you could do that day. So you can get it as close to perfect as you can. And then some shots you have to move on and you didn’t get it the way you wanted." Once you originally envisioned might find itself working out differently in the cutting room, the place where the film really comes together - and often the film has its own ideas of where it wants to go...and how it wants to come about... “As you’re making short films and learning how to do it, you rip everybody off and make extremely derivative work and find what works for you and what doesn’t. After a while, you forget about who you’re copying and you find your own style, which ends up being a Frankenstein’s monster of all the things that you loved growing up and all the things you connected with.” If you want to read the full article by filmschoolrejects go check out: https://filmschoolrejects.com/ari-aster-filmmaking-tips/
Tag a friend who needs to see this!
1 hour ago
[🔈Sound on] When the underpaid PA ”tries” to warn the crew (but know it dosen’t really matter..) so he makes sure to get it on camera 😅💦
⭐️ @MikaelCross 👉 Filmmaking and inspiration