Chayse Irvin is defined by contradiction: “I’ll shoot black and white. I’ll shoot color. I’m mixing things. I’m breaking the rules of image continuity,” he told us. But, the more you learn about him, the more you see that he’s not contradicting for the sake of contradiction. He’s disciplined and methodical, which makes him less a man of contradiction and more a man of paradox. There’s real meaning in it.
Whether it’s documentaries, mockumentaries, feature films, or wildly popular television shows, you can probably find it somewhere on Alex Buono’s résumé. Although he’s primarily known as a cinematographer, he’s also a successful writer, director, producer, and workshop instructor. Oh, and he’s been nominated for an Academy Award.
The most interesting things in life happen on the edges. So it’s not surprising that great films are made there too. Weirdly, it’s by exploring extremes that we come to better understand our day-to-day lives and selves. You have to travel far away to fully appreciate being home. At least that’s the operating philosophy for filmmaker Thibaut Grevet, whose film Coste Contemplation not only got him a Vimeo Staff Pick, but also caught the eye of Apple’s marketing department and the ear of our film team when he licensed Musicbed track ‘Speak, We’re Listening’ to score his film.
What’s that thing real estate agents always say? Location, location, location? Well, the same could be said about film. Knowing how to find great locations is an essential element of filmmaking — and it is equal parts vigilance, thoroughness, organization, and plain old luck. In our last conversation with Casey and Danielle of MINDCASTLE, they talked briefly about their, shall we say, exhaustive scouting methods. So we thought we’d call them up again and dig into their process.
Some images are great because they capture the world we all recognize. Others are great because they show us the world like we’ve never seen it. Mike Olbinski, storm photographer and time-lapse filmmaker, falls firmly into the second category. His work seems in this world but not of it. Clouds inflate to colossal heights in seconds. Rain falls like water squeezed out of a sponge. These storms have character. They have drama. Olbinski’s films show us our world but with a super-human perspective of time. Maybe this is what storms look like to God.
You don’t need a reason to make films, but it helps. Case in point: Paul Pryor, director and cinematographer best known for his work with TOMS Shoes, Charity: Water, and The Adventure Project. Paul makes films for a very simple reason: to help people. His work has helped raise awareness and funds for some of the most important issues facing our world today. (Thanks, Paul!)
There are two stories behind every photograph: the story of what was being captured, and the story of capturing it. Tales by Light, now streaming on Netflix, focuses on the latter, documenting the wild, often perilous journeys of world-class photographers as they create their spectacular images.
It took seven years from the time Reed Morano graduated from NYU’s film school to the time she worked as a DP on the Academy Award-nominated film Frozen River. Seven years to begin making the work she wanted to make. Which is why when we asked her what advice she’d give to a young filmmaker, the first thing she said was perseverance.
Natasha Braier always knew what she wanted to do; she just wasn’t sure where she wanted to do it. While growing up in Argentina, she became interested in photography at a young age and soon began making films with her father’s 8mm camera. “I never really thought about filmmaking as a career. I was just following an artistic expression that resonated with me the most,” Natasha told us. After attending art school in Argentina and film school in Barcelona, she was eventually accepted into a master’s program for cinematography at the prestigious National Film and Television School in England.
In film, it is not enough to be a storyteller. You have to be a storyshow-er. A storyvisualizer. You need to tell stories cinematically — which, as you might expect, is what Jennifer Van Sijll’s book, Cinematic Storytelling, is all about. Sijll explains there has been an unhealthy divide created between the technical side of filmmaking and the story side: “In teaching filmmaking, story and film are often taught separately. Screenwriters are housed in one building, production people in another. Unintentionally, a divide is created where there should be a bond. Technical tools become separated from their end, which is story.”