Everybody wants to be Salomon Ligthelm — except Salomon Ligthelm. After years of being Vimeo’s darling and a poster child for crowdfunded passion projects, Salomon has left all of that behind in search of a more fundamental form of filmmaking. Filmmaking based on characters. Actors. Human experience. We talked to Salomon after he’d been living in New York for eight months. He was still very much transitioning from who he was to who he is becoming. It’s an uncomfortable place to be, as you’ll see from our conversation.
“Ignorance is bliss,” Isaac Testerman says. “Everything we did was taking the bull by the horns, not knowing if what we were doing was the best way to go about it. We were just doing things the best we could.” After making his first short film with zero filmmaking know-how, Isaac went on to cofound Delve, one of Facebook’s lead creative agencies. Now, seven years later, what Isaac and his team lack in formal training, they make up for with gusto and experience.
On a whim a few years ago, Eliot Rausch borrowed a 7D to film the final hours of his friend’s dog, Oden. When he woke up the next morning, Last Minutes with Oden had 30,000 Vimeo views, and Eliot’s directorial career had accidentally been launched. But that’s the way things seem to go for Eliot. Without trying to control or manipulate his career path, he’s inadvertently become one of the most well-respected independent filmmakers in the business. After working for major brands like Nike and Under Armour, Eliot is now taking a step back to rediscover what brought him to storytelling in the first place. This is our conversation with the legendary Eliot Rausch.
It’s funny. One of the reasons we were so excited to talk to the creative husband-and-wife duo Sea Chant was to find out how they’ve cultivated such a distinct visual style. Everything they do is beautiful, colorful, almost hyperreal. They have a consistency of voice that a lot of beginning photographers and filmmakers strive for. But when we asked how they’ve done it, the conversation took a surprising (and great) 90-degree turn. It turns out Andrew and Carissa Gallo have no interest in aesthetic consistency, in voice development — in being “Sea Chant-y.”
We don’t talk about gear very much here on the Musicbed blog, but when we found out our friends Casey Warren and Danielle Warren (a.k.a. MINDCASTLE) had gotten their hands on the first ARRI ALEXA Mini, we wanted to know what they thought of it. As filmmakers, gear is an inextricable part of our creative lives, whether we’re using our iPhones or the latest high-end wonder. So while we don’t like to focus on the equipment of filmmaking too much (plenty of amazing publications are already doing that so well), we can’t help but geek out a little from time to time.
Susi Sie does not like computers, so it’s a little bit ironic that our conversation took place over Skype. When we talked with her, she was sitting in her studio in Berlin, surrounded by the machines and materials she uses to make her kinetic, otherworldly, and yet entirely tangible films. Everything you see in a Susi Sie film is real. No computer trickery. No 3D. “I have a lot of sand,” she told us, “petri dishes, plastic cups, gloves, color, aquariums, tape, pipettes, cable ties, protective goggles, protection masks. It’s like a construction market, actually.”