If there is no “right way” to make a film, then is there no “wrong way” either? If you’ve seen Paul Özgür’s work — an award-winning Dutch cinematographer whose films have screened at festivals like Sundance and the Berlin International Film Festival — you’ll start to question if there are any boundaries at all. “This is filmmaking,” Paul told us. “There are no rules.”
In a film, “Every object, every color, every detail tells a story,” cinematographer Laura Merians told us. “For me, philosophy and filmmaking have a lot of similarities. You’re trying to communicate something. You’re trying to explore a subject or find meaning. As a filmmaker, I’m constantly trying to find the deeper meaning.”
Philip Bloom is a 25-year veteran of the filmmaking industry and an inspiration and mentor to thousands of followers online. Philip literally learned his craft under fire, and he has thoughts on everything from video gear to online collaboration to the perfect ratio of gin to tonic. He is both a gent and a genius: This is our conversation with Philip Bloom.
Shane Hurlbut, ASC is a legendary cinematographer who’s worked on such blockbusters as Into the Blue (2005), Terminator Salvation (2009), and Act of Valor (2012). After putting this much time into the business, he knows a thing or two about creativity, community, and collaboration. When we talked to Shane, he was color correcting his latest film, Need for Speed (2014), and he graciously took a break to let us hound him with our questions.