We ended up talking a lot about Brooklyn in this interview. That’s the city where composer Chad Lawson got his start, and it’s the city that, several years ago, he decided to leave. Like most people (creative people, especially), we’re suckers for the mythology of New York City, no matter how outdated that mythology may be. There’s just something about that place. And it seems unavoidable that where we are — geographically, emotionally, etc. — becomes a part of what we make. Our context finds its way in. That’s exactly what happened for Chad.
Wendy Cohen has dedicated her life to promoting films that make a difference. You might call them advocacy films or socially conscious films. Or it might just be easier to call them by their names: Food, Inc.; The Cove; Inequality for All; Rich Hill; Waiting for “Superman” — just to name a few.
The way people make films has changed a lot over the past few years. But the way people watch films has changed even more. Video on demand, mobile viewing, subscription services like Netflix and Amazon Prime — all of these things have fundamentally changed our relationship with movies. They’re less of an “event” now and more of a constant presence. Easy to access and just as easy to ignore. What does it mean for filmmakers when massive theatrical distribution is no longer the gold standard, but the goal is still the same: to get as many people as possible to see your film?