With a directorial career now entering its third decade, Coppola has often drawn on her impressive pool of past talented collaborators. On the Rocks features her reteaming with costume designer Anne Ross, editor Sarah Flack and director of photography Philippe Le Sourd.
In her now 21-year career as a film director, Sophia Coppola—the daughter of Hollywood mogul Francis Ford Coppola—has staked her claim as one of the great visionary filmmakers of our time. Though often compared to the likes of Wes Anderson and Paul Thomas Anderson, Coppola has carved out a distinct style of her own.
When you’re relaunching a brand as iconic as the Ford Bronco, there’s more than a little bit of pressure. It’s almost like remaking The Godfather. In other words, you better not screw it up or you’re going to have an army of angry fans at your door. Wieden+Kennedy’s team was facing this pressure head-on, and so much of their brand reveal hinged on the creative—specifically the director’s vision and the music.
When we sat down to talk with Writer/Director Dionne Edwards about her process, the phrase “it’s hard to explain” kept popping up. It speaks to one of the hard truths behind writing—you really just have to do it. So much of the craft is an intuition you build over more than a few mistakes.
After Ford Vs. Ferrari, Phedon Papamichael, ASC shares about augmenting a vision, restaging historical events, and capturing a different piece of Americana.
The beauty (and terror) of creative projects is that things don’t always go to plan. Funding falls through, actors get sick, and you have to pivot your vision to something new. Then, you have the extreme version of that, which Director/DP/Editor Chris Murphy experienced during the production of YETI’s short film Kekoa.
As filmmakers, we all stand on the shoulders of giants. No matter how original or visionary you think your work is, odds are, you’re re-hashing an idea used by a filmmaker (or two) who’ve also borrowed that same idea from another filmmaker’s work a half-century ago.
The career of cinematographer Ross Emery, ACS, includes a large number of major effects-heavy science fiction films. His latest project, the HBO Max series Raised by Wolves, is his latest venture into sci-fi territory.
Produced under the Scott Free banner and featuring the first episodic TV work by director Ridley Scott, we talked with Emery about rethinking the sci-fi genre, making room for VFX, and post-production during COVID.
Director/Writer Ricky Staub and Producer/Writer Dan Walser are the founding team behind Neighborhood Film Co., a production team who recently released their first feature film Concrete Cowboy. On the other side of the table, we have famed producers Jeff Waxman and Jen Madeloff, who besides producing Concrete Cowboy, have worked on Vice, John Wick: Chapter 3, Mother!, and dozens more.
Not only have the lives of wedding filmmakers been upended during the pandemic; but the countless couples who were to be married this year as well. Yet even in the midst of uncertainty, there have been encouraging lessons to be learned from this year.