Category Archives: Director

The A-List: La La Land’s Oscar-winning director Damien Chazelle

By Iain Blair

Writer/director Damien Chazelle may only have three feature films on his short resume, but the 32-year-old is already viewed by Hollywood as an acclaimed auteur and major talent. His latest film, the retro-glamorous musical La La Land, is a follow-up to his 2014 release Whiplash. That film received five Oscar nominations — including Best Picture and Best Adapted Screenplay for Chazelle — and three wins, including Best Supporting Actor for J.K. Simmons.

Now officially crowned as this year’s Oscar frontrunner, Lionsgate’s La La Land just scored a stunning total of 14 nominations (including Best Director), matching the record held by All About Eve and Titanic. It also recently scooped up seven Golden Globes, a record for a single movie, as well as a ton of other awards and nominations.

Damien Chazelle

Set in the present, but paying homage to the great Hollywood musicals of the ’40s and ’50s, La La Land tells the story of jazz pianist Sebastian (Ryan Gosling), who meets aspiring actress, playwright and fan of old movies Mia (Emma Stone). They initially ignore each other, they talk, they fight — but mainly they break out of the conventions of everyday life as they break into song and dance at the drop of a hat and take us on an exuberant journey through their love affair in a movie that’s also an ode to the glamour and emotion of cinema classics. It’s also a love letter to the Los Angeles of Technicolor dreams.

To bring La La Land to life, Chazelle collaborated with a creative team that included director of photography Linus Sandgren (known for his work with David O. Russell on American Hustle and Joy), choreographer Mandy Moore, composer Justin Hurwitz, lyricists Benj Pasek and Justin Paul, and editor Tom Cross who cut Whiplash for him.

I recently talked to Chazelle about making the film and his workflow.

To paraphrase Mark Twain, reports that the musical is dead have been greatly exaggerated. You obviously love them.
I do, and I also don’t think they’re just escapist fantasies. They usually tell you something about their era, and the idea was to match the tropes of those great old movies — the Fred and Ginger musicals — with modern life and all its demands. I’m a huge fan of all those old musicals, and I drew my inspiration from a wide mix of all the MGM musicals, the Technicolor and CinemaScope ones especially, and then all the films of Jacques Demy. He’s the French New Wave director who made The Umbrellas of Cherbourg, The Young Girls of Rochefort and A Room in Town. But I was also inspired by ‘90s films about LA that really captured the grandeur of the city, like Robert Altman’s Short Cuts or Pulp Fiction.

It’s interesting that all your films are so music-driven.
I used to be a jazz drummer — or a wannabe — so a lot of it comes from that. Probably frustrated ambition (laughs).

Is it true that you never used a hand double for Ryan Gosling when he was playing piano?
Completely true. He could play a little bit of basic piano stuff, and he’s definitely musical, but he was adamant right from the start that he would learn all the pieces and play them himself — and he did. He practiced intensely for four months before the shoot, and by the time we shot he could play. There’s no cheating. They’re his hands, even on the close-ups. That’s how committed he was.

The dancing must have been equally demanding for both Ryan and Emma?
It was. They both had a little dance experience — him more than her, I think, but fairly minimal and in different styles than this. So they had to do a lot of rehearsal and training, and Mandy Moore is a great dance instructor as well as a choreographer, so she did both at the same time — training them and building the choreography out of that and what suited each actor and each character. It was all very organic and tailored specifically for them.

The big opening dance sequence with all the cars is such a tour-de-force. Just how tough was that to pull off?
It was very tough. I had an amazing crew, and once we’d found this overpass ramp we had to figure out exactly how to shoot it for real with all these cars of different colors and eras, so there was a ton of insane logistics to deal with. That was going on while Mandy was working on all the choreography, either in the studio or in parking lots, since we couldn’t rehearse that much on location. The last thing to add was the crane. I’d storyboarded the whole sequence and shot a lot of the rehearsals on my iPhone so we could study them and see how we wanted to move the camera with the crane.

There’s been a lot of talk about it being one long uncut sequence. Is it?
No. We designed it to look like one shot but it’s actually three, stitched together invisibly, and we shot it over a weekend.

Talk about working with Linus Sandgren, who used anamorphic lenses and 35mm film to get that glamour look.
We had a great relationship, as every time I had an idea he’d one-up it, and vice-versa. So he really embraced all the challenges and set the tone with his enthusiasm. There was a lot of back and forth before and during the shoot. We wanted the camera to feel like a dancer, to become part of the choreography, to be very energetic, and we had this great Steadicam guy, Ari Robbins. He did amazing work executing these very difficult, fluid shots. I wanted the film to be very anamorphic, and today, scope films are usually shot in 2.40 to 1, but Linus thought it would be interesting to shoot it in 2.52 to 1 to give it the extra scope of those classic films. We talked to Panavision about it, and they actually custom-fit some lenses for us.

Do you like post?
I love it, especially the editing. It’s my favorite part of the whole process.

Tell us about working with editor Tom Cross. Was he on the set?
He visited a couple of times, but I think it’s better when editors are not there so they are more objective when they first see the coverage. He starts cutting while I shoot, and then we start. I like to be in the editing room every day, and the big challenge on this was finding the right tone.

While Whiplash was all about punctuated editing so it reflected the tempos and rhythms of the drumming, La La Land is the polar opposite. It’s all about lush curves, and Whiplash is a movie about hard right angles. So on this, it was all about calibrating a lot of details. We had a mass of footage — a lot ended up on the cutting room floor — and while some is heightened fantasy, some is like a realist drama. So we had to find a way for both to coexist, and that involved everything from minute tweaks to total overhauls. We actually cut the whole opening number at one point, then later put it back and dropped other scenes around it. There’s probably no number we didn’t cut at some point, so we tried all possibilities, and it took a while to get the tone and pacing right.

Where did you do the post?
At EPS-Cineworks in Burbank; then on the Fox lot. Justin, the composer, was also there working on score cues next door, and we had our sound team with us for a bit, way before the mix, doing sound design, so it was very collaborative. It was like a mini-factory. Crafty Apes did all the VFX, such as the planetarium sequence and flying through space sequence, as well as the more invisible stuff throughout the film.

Obviously, all the music and sound was crucial?
Yes, and it helped that we had a lot of the score done before we shot. Justin was with us for the edit, and we’d do temp stuff for screenings and then tweak things. I had a great sound team led by Andy Nelson, who were phenomenal. Just like with the VFX, it had to somehow be small and intimate while also being huge and epic. It couldn’t be too glossy, so all the music was recorded acoustically and the vocals are all dry with very little reverb or compression, and we mixed in Atmos at Fox.

Where did you do the DI?
On the Fox lot with colorist Natasha Leonnet from EFilm. She did Whiplash for me and she’s very experienced. The DP and her set the template for the look and color palette even before the shoot, and then Linus and I’d go in for the DI and alternate on sessions. Our final session was literally 48 hours long non-stop — no sleep, no trips outdoors — as we were so under the wire to finish. But it all turned out great, and I’m very pleased with the look and the final film. It’s the film I wanted to make.

Whitehouse editor Lisa Gunning moves from London to LA

Whitehouse Post editor Lisa Gunning has relocated from the company’s London headquarters to its Los Angeles office. The move allows her to cut more long-form projects in addition to her spot work.

Gunning’s arrival at Whitehouse LA coincided with her editing the feature film Newness for commercial and narrative director Drake Doremus. The film was completed in only three months and premiered at this year’s Sundance Film Festival. Well known for her commercial work, Gunning wrapped Adidas’ Basketball Without Creativity starring James Harden for frequent director collaborator Stacy Wall in late 2016. In recent years, she has also teamed up with Wieden+Kennedy, 72 and Sunny, Y&R and BBH to work on brands including Nike, Corona, Landrover and Johnnie Walker.

Regarding her decision to relocate, Gunning explains that LA offers an opportunity to expand her commercial portfolio and cater to her long-form interests. “I feel like I’m in the epicenter of where my work is based now.”

Along with her spot work, Gunning has lent her editing talent to films including Nowhere Boy, Seven Psychopaths and Fifty Shades of Grey.

In addition to editing, Gunning has grown her directing skills with several projects, including three short films in collaboration with Nowness and Mini and multiple music videos. “Directing is great for editing, and what I learn on commercials is great for working in long-form,” she explains. “The varied experiences make me a better director and editor because I’m able to empathize with all of the processes and think of them as a whole, as opposed to just one side of it.”

G-Tech 6-15

The A-List: Elle director Paul Verhoeven

By Iain Blair

Director Paul Verhoeven has never been afraid to go where most other directors fear to tread, especially in the thorny areas of sex, violence and gender politics. Happy to shock and outrage audiences, and adept at moving effortlessly between genres — and blurring the lines between high and low culture, dreams and reality — Verhoeven has also always possessed a sly sense of humor that percolates just below the surface, even as those audiences are horrified, and mesmerized, by what they see.

After first making a name for himself with 1973’s Oscar-nominated Turkish Delight, Verhoeven became a major Hollywood and international player with such blockbusters as RoboCop, Total Recall and Basic Instinct. His resume also includes Starship Troopers and Hollow Man.

Dutch-born Verhoeven returned to European filmmaking in 2006 with Black Book — a fast-paced World War II resistance thriller — and then disappeared. But he’s now back with the acclaimed revenge thriller Elle, which stars Oscar-nominated Isabelle Huppert as a divorced, middle-aged mother and ruthless CEO of a leading video game company who, in the very opening scene, is violently raped by a masked intruder in her Paris home. When she resolutely tracks the man down, they are both drawn into a perverse and thrilling game. Huppert picked up a Golden Globe this year for her performance in the film.

I talked to Verhoeven about making the film and his workflow.

It’s been 10 long years since your last film. What happened?
I just couldn’t find anything that excited me. I tried, but several projects I liked fell apart. In general, the scripts I read weren’t on the level of Black Book, plus I wanted to try something different, so I wrote several books and kept looking.

This film seems at first to be a rape-revenge thriller, but it isn’t just that, is it?
No, certainly not. It was originally going to be set and shot in America and would have been more of a straightforward rape-revenge thriller, but I wanted to make something far more politically incorrect and controversial. Something that examines the strengths of the heroine who lives by her own rules and ultimately gets what she wants. She refuses to be a victim, and in the novel it’s based on she doesn’t go into revenge mode, which would have been a cliché and boring. It goes in another direction, which I found intriguing and liberating, and that’s why I made it. It was unknown territory for me, as it leans so much on the social relationships and the characters themselves. I’d never done that in my whole career.

Is it true you tried to get an American actress, but no one wanted to take it on?
Yes, we tried about six A-list actresses, and they all refused to do it.

So what did Isabelle Huppert bring to the role?
She’s fearless and brings absolute authenticity. We actually met at the start of the project and she was very keen to do the movie. But we thought it’d be set in America, and later my producer said to me, “Why are we fighting to do it in the US? It’s based on a French novel and Isabelle really wants to do it — let’s get her and shoot in Paris.” And he was right. I realize now that I couldn’t have made this movie in America, and that without her in the role the movie would have been a very hard sell. Although you might not sympathize completely with her, you believe her. She made the third act work and be acceptable artistically.

You shot digitally, right?
Yes, on Red Dragons, which I loved. I always had two running, very close together, with a slightly different angle so in the edit you could cut to either since it’s the same movement from the actors. I even used another DP for the “B” camera, so they worked like two “A” cameras.

Where did you do the post?
We did all the editing in Amsterdam, Holland. Job ter Burg, who cut Black Book for me, worked with me for several months, and then we did the rest of post — the sound mixing, color correction and so on — in Paris, with some stuff in Brussels. We recorded the score in London, so post was very spread out.

Do you like post?
I love it. You’re glad the shoot’s over, with all the stress over budget and schedule, and you can finally relax and make your film. You’re completely free to discuss structure and change anything you want, although we didn’t change much in terms of the scenes and order. The first cut came in at two and a half hours. We eventually cut about 25 minutes because certain scenes didn’t fit with the drama as they were too slow and interrupted the narrative flow and pace. So we did a bit of compression, but we didn’t re-order it.

This is obviously not a VFX-driven piece, but they were important, right?
Right. They were done by Mikros Image in Paris, and there were a lot of small things.  We used VFX to change backgrounds and so on, and VFX were really useful in all the scenes with the cat, because a cat is very difficult to direct (laughs). They do what they want. So some of the shots, like the cat with the bird, are composites with bluescreen. So it was all about improving what we’d shot on the day, and little touches, nothing like the big VFX sequences in RoboCop, Total Recall, Starship Troopers and Hollow Man.

Can you talk about the importance of music and sound in the film?
They’re both so important in film, and you’re trying to find the best atmosphere for each scene. Sometime when you shoot in the street, the traffic’s so loud you have to fix all the dialogue in post. Then finding the right music was crucial, and I had very long talks with Anne Dudley, the English composer who scored Black Book for me, about what we wanted to express, what would work and why. I’m a big fan of Stravinsky, and the unusual way he composed his symphonies, which subverted the norm. I wanted to use both modern electronic music and sounds along with symphonic music.

I prefer to listen to music, like classical, that you don’t necessarily go out and copy, but you understand what it adds to the images. So Anne and I’d listen to Janacek and Stravinsky and others, and slowly it becomes obvious what the score should be. Then she began writing her own music. So during post I would go to London a lot to work on all that with her. For me, once you have the right score, it elevates the movie into a whole new level that the visuals alone can never match.

This is France’s official Oscar entry, and we’re starting awards season. How important are awards to you?
Important, but not as important as the movie. It’s great to get recognition, but I never made a movie thinking about Oscars or awards, and I made this because it’s audacious and different from any other movie.

What’s next? Do we have to wait another 10 years?
(Laughs) No, no! Please, I feel very guilty about that. I should have made at least one, but time passed and suddenly it’s a decade later. Now I’m very aware of my age. I’ll probably be dead if I wait that long again, so I have several projects lined up, some French projects, an American film, and some Dutch ones, and I promise you I’ll say “yes” to one of them soon.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Smile wins Grand Prize for best music video at Showdown 8

By Randi Altman

Silver Sound’s Showdown 8 Music Video Festival took place this week at the Brooklyn Bowl, highlighting bands, showcasing music videos and naming the winner of their Best Music Video contest.

I’m proud to say that this was my fourth year as a judge of the contest and happy to report that my number one pick took home the top prize. Joe Staehly’s Smile, for artist Jay Pray, features an older woman revisiting places from her past, bringing with her a film projector that plays images of herself and friends — including one special boy — when they were young. Finally, in present day, she visits an older man in a medical facility. He clearly doesn’t recognize her and is visibly uncomfortable. The woman then turns off the lights and turns on projectors that fill the room with images of their past.

For this effort, Staehly took home the Grand Prize for the video he shot on Red Epic Dragon and Super 8 film. Smile brought the audience, and this judge, to tears. That’s right, a music video did that.

Twenty-three-year-old Staehly is a Philadelphia-based cinematographer and director at Set in Motion. Staehly, who also edited the piece, is the youngest grand prize winner in Showdown history.

Each year 21 music videos and four bands compete for the Grand Prize — Silver Sound will produce a music video with them — worth over $10,000. Staehly will be collaborating on this music video with artist Gabrielle Sterbenz.

Created eight years ago by the talents behind NYC audio post house Silver Sound, Showdown shows no sign of slowing down. “Music videos are an oft-overlooked medium that I personally find very exciting,” reports Silver Sound partner/festival director Cory Choy. “Music video directors take risks, both narratively and technically, that other filmmakers, who have to worry about dialogue, aren’t willing to take. It’s a challenge, but it’s also incredibly freeing and exciting to experience two stories simultaneously — the story that the music is telling, and the story that the movie is telling. The way these stories interact and resonate with each other… that’s what music videos are about.”


Photo Credit: Hopper Stone.

The A-List: Hidden Figures director/co-writer Ted Melfi

By Iain Blair

When writer/producer/director Ted Melfi (St. Vincent) first came across the true story behind his new film, Hidden Figures, he was amazed that it had never been told before. The drama recounts the history of an elite team of black female mathematicians at NASA who helped win the all-out space race against the Soviet Union and, at the same time, brought issues of race, equal rights, sexism and opportunity to the surface of 1960s society.

Focusing on a trio of women who crossed gender, race and professional lines, it stars Oscar-nominee Taraji P. Henson (Empire, Benjamin Button), Oscar-winner Octavia Spencer (Fruitvale Station, The Help), singer Janelle Monáe (making her motion picture debut) and two-time Oscar winner Kevin Costner (Field of Dreams, Dances With Wolves).

Photo Credit: Hopper Stone.

Ted Melfi

Based on the book by Margot Lee Shetterly, the film was written by Melfi and screenwriter Allison Schroeder (they both received Oscar noms for Best Adapted Screenplay), who reports that the subject matter was already embedded in her DNA. “I grew up a NASA baby in Florida,” she explains. “My grandparents and dad all worked there, and then I interned there for four years during high school and worked for a missile launch company after my freshman year at college.” She then channeled that family history and her own workplace experiences into a story about “what it was like to be a woman in science and mathematics back then.”

Not long ago, I spoke with Melfi about making the film and his workflow.

This is a very timely film, dealing as it does with racism, sexism and all the issues with Russia and the space race. Was that the appeal?
Absolutely. It’s a completely unknown true story for many reasons, the main one being that all the material was classified for so long because of the Cold War and our fear of Russia. So everyone on the space program was sworn to secrecy, and even the astronauts themselves didn’t know who’d be flying until days before a launch.

While we have parades celebrating astronauts, athletes and so on, we don’t have parades for mathematicians. So I wanted to make an American classic, a movie about this crossroads in America where you had the fight for civil rights and the space race. That’s how I saw it in my mind — how did all that collide?

Photo Credit: Hopper Stone.You got a great cast. How tough was it casting the women?
Taraji was my first thought for her role and she said yes right away on the phone after I just pitched her the storyline. Octavia was also on board right away. Janelle was the hard one, in that it was tough casting her role. We wanted someone fresh and different, and once she came in to audition, we knew she was perfect for it, and she just blew it away.

Did you get a lot of cooperation from NASA?
Not only did we get tons of help from them, but I’ve become good friends with some of the guys there. They pored through draft after draft, gave notes and really helped us craft all the math. So everything in the film is completely accurate from a scientific, mathematical and engineering standpoint, and they were so helpful. We also had a math scholar who helped us and Taraji with her math and all the equations, so we spent a lot of time on research.

What was the biggest production challenge?
How to pull off the space race, because we were essentially a low budget film — a $25 million movie — and we didn’t have the money or time to recreate all the launches and rocket stuff. So we had to find a very clever way of combining archival footage and VFX with all the live-action footage. You see those transitions throughout the film; we’ll have a piece of archival footage and then roll right into something we shot, with all the VFX incorporated into that.

Getting all that archival footage was both tricky and easy — easy as NASA has a huge archive, but they also have a lot of footage that they couldn’t find. So we had to send a film historian specialist to DC to dig through all of NASA’s film reel archives in this massive vault, and that was a lot of work, since they have thousands and thousands of them of every piece of footage ever shot of all the launches and landings and so on. We wanted the original negatives, and he was able to get almost all of them. Then we re-scanned them and blended them into our footage.

You shot on location in Atlanta. Was that tough?
Yes, in that we had just 43 days, which is very short for something of this scope.

Given that sexism is a main theme, and there’s so much talk now about Hollywood’s lack of diversity, was it intentional or coincidental that you hired a female DP, Mandy Walker?
It was a bit of both. I met with a bunch of DPs, and she was just great. It’s a shame that just three percent of the world’s DPs are women. So I try to approach my professional life with a very inclusive attitude, just in general, which means you have to work at it and be pro-active, and 35 percent of our crew were female, and extremely diverse.

Do you like post?
I love it, until you get to the very end. (Laughs) For me, after the shoot, when I literally feel like collapsing because I’m so tired and exhausted. Then I get to this room with a couch, and can finally sit down. So it’s like a vacation in a way, where I get to enjoy and discover stuff every day. At times it’s depressing, when there are problems, but it’s mainly a time of exuberance and joy for me. But at the end, say the last month, it becomes the same as the shoot, with all the time and money constraints, and the pressure to get it done in time.

Where did you do the post?
All on the Fox lot. We did the editing and had our whole team in the same building — our sound team, music guys — and it was awesome, like a small family. The only problem was that we got a very truncated post schedule. Based off all the dailies, the studio decided they wanted to release it early in time for all the awards season stuff, so suddenly we had to deliver it in October instead of for Christmas. That meant we got eight to 10 weeks cut out of post. That left us with just 26 weeks all in, which isn’t very long for something of this scope. Most movies this size get way longer than that. So that was tough.

Tell us about working with editor Peter Teschner, who cut St. Vincent for you. Was he on the set?
Yes, he was in Atlanta with us, cutting from day one as we shot. Basically, I let him do his thing, he puts the movie together in a rough assembly, and we began with a cut at just over two and a half hours. Then we got down to two. Normally, that first rough cut is the most depressing day of your life, but this one wasn’t. There was a lot of work to do, but it was enjoyable work.

Obviously, all the VFX were very important, right?
Very. It’s a period piece, and with all the capsule and rocket scenes there was a lot of stuff to do. We used Cgfluids and ILP for all the VFX, and probably had 400 to 500 shots, and maybe half of those were clean-up, like removing any modern stuff, such as streetlights and cars and so on. But then we had around 100 shots of capsule stuff — the capsules in orbit, pieces of the rocket going up, and then John Glenn’s re-entry and fire scenes.

Can you talk about the importance of music and sound in the film?
It’s so crucial to every scene. People say it’s half your movie, but I think it’s often more. Just watch your movie without sound or music and you go, “This is so awful! It’s the worst thing I’ve ever seen,” but then you start adding all those layers and it suddenly all comes alive. It’s all these little things that add up to huge things and how an audience feels emotionally and how they respond.

I had a great sound team — Andy Nelson was the re-recording mixer and Derek Vanderhorst was the sound designer, and those guys are brilliant. When you’re in space and in the capsule, you need to feel all that, the intensity of the rocket. Then musically we had a great team with Pharrell and Hans Zimmer and Ben Wallfisch. They came on board very early, before we even began proper production, to map out the musical plan. So we had music to shoot to. We shot Taraji’s running scenes to Pharrell’s track, which was a big benefit.

Where did you do the DI?
On the Fox lot with colorist Natasha Leonett from Efilm at their room there. She’s done a ton of films, including La La Land. She’s brilliant.

You’ve had a long and very successful career directing over 100 commercials, so I assume you’re very involved?
You’re right. I’ve been used to doing coloring for over 20 years, as my DP was never around, so Mandy came in for a few days and then I did my thing. It’s the final piece of the post workflow and I love it.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


The A-List: Jim Jarmusch on his latest film Paterson

By Iain Blair

Over the past few decades, writer/director Jim Jarmusch has followed the beat of his own drum and built up a body of idiosyncratic films that include Permanent Vacation (1980), Stranger Than Paradise (1984), Down by Law (1986), Mystery Train (1989), Night on Earth (1991), Dead Man (1995), Year of the Horse (1997), Ghost Dog: The Way of the Samurai (1999), Coffee and Cigarettes (2003), Broken Flowers (2005), The Limits of Control (2009), Only Lovers Left Alive (2013) and Gimme Danger (2016).

Jim Jarmusch and Iain Blair.

His new film, Paterson, fits firmly in that tradition. Paterson (Adam Driver) is a bus driver in the city of Paterson, New Jersey — he is also a poet. Each day he adheres to a simple routine: he drives his daily route observing the city as it drifts across his windshield and while overhearing fragments of conversations swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura (Golshifteh Farahani).

By contrast, Laura’s world is ever changing. New dreams come to her almost daily, each a different and inspired project. They have a happy marriage and love each other. He supports her newfound ambitions and she champions his gift for poetry. The film quietly observes the small triumphs and defeats of daily life, along with the poetry evident in its smallest details. As Jarmusch himself says, it’s “a kind of antidote to dark, heavily dramatic or action-oriented cinema.” No kidding. The film’s big action scene is when Paterson’s bus breaks down.

In a rare interview — he doesn’t like doing press or promotion — I met up with Jarmusch about making the film, his workflow and poetry.

You’ve always been interested in poetry?
Yes, since I was a teenager. I studied poetry at Columbia and I read a lot of Rimbaud and the French poets. I then got into the American poets like Walt Whitman and William Carlos Williams, who came from Paterson, so it all ties together. This is my first film where the main character’s a poet, but I’ve woven references to poetry into a lot of my films, such as Mystery Train and Ghost Dog and Dead Man, so there’s a thread there.

How long had this idea been gestating?
A long time. Some 20 years ago I took a trip to Paterson because of William Carlos Williams, and the whole idea of it being a utopian idea for an industrial city. Allen Ginsberg had also grown up there, and when I got home I made notes about a possible story about a guy named Paterson who lives in Paterson and writes poetry. I also got very interested in the history of the city, which is fascinating. Then I finally wrote the script about six years ago.

Fair to say it’s a wry look at the simple pleasures of domestic life?
Absolutely. I think it’s a comedy, like almost all my films — or at least, they have comedic elements. It’s a story about details, all the little mundane stuff of daily life, the slight variations in the days of the week, that might inspire a poet that is of that school. It’s not the poetry of exclamation. I intentionally avoided conflict, action and, to some degree, plot. For some time I’ve been trying to make films where you’re hopefully not always thinking about what’s going to happen next — Zen-like things where you’re just in the present all the time.

What did Adam Driver and Golshifteh Farahani bring to their roles, as you usually write with specific actors in mind?
Nearly always, but not this time, which was very strange for me. I’d seen him in just a few things and I love his look. Once we met I intuitively knew he’d be just right, because he has this very subtle, good sense of humor, he’s quiet and very observant. He’s not analytical, he’s intuitive like me, and I was so lucky to get him and create this character together. I wrote Laura as this all-American girl, but someone I know said, “Why don’t you cast Golshifteh Farahani, since you love her work?” Once we met, I thought, why not? And the city of Paterson is very ethnically diverse, so it made sense.

Do you like the post process?
I love editing and post. I love all parts of filmmaking, except getting the financing, which can be agonizing. But the rest is so much fun, and post is where you really make the film. Shooting for me, since I don’t have it all figured out, is just gathering all the material. In post is where you find the film and finesse it into the form it tells you it wants to be.

Where did you do the post?
We did it all — editing, sound and the DI — in New York at Harbor Picture Company.

You worked with editor Affonso Gonçalves, whose credits include Beasts of the Southern Wild, Winter’s Bone and who cut Only Lovers Left Alive for you. Tell us about that relationship?
He doesn’t usually come on the set — maybe a couple of times on this one. He got familiar with the dailies as we shot, but he didn’t really start cutting (via Avid Media Composer) until we were done shooting. Then a very important part of my job is to select the takes, as I’ve collaborated for a long time with the actors, and that’s not always obvious in the editing room. You could make a totally different film by taking, say, all the most light-hearted takes. So we go through all the takes and mark what I like, and then we start working and shaping it. He starts in the mornings and then I come in after lunch and we work together. Sometimes I get ahead of him, so some days I don’t come in, but generally it’s a daily thing.

Can you talk about the importance of music and sound in the film?
I have incredible sound designers I’ve worked with on many films over the years — sound designer Robert Hein and re-recording mixer Tony Volante — and it’s all incredibly important to me. Sound is half the film, so it’s very delicate and evocative, and the big thing I love about it is it’s the closest thing humans create to dreaming, drifting into this parallel world.

Robert Hein is this amazing artist, and we discuss things as detailed as, how many trees are close to the house? What types of birds and how many would be audible at dawn? Or you hear a distant motorcycle go by. We discuss exactly what type of bike is it, and what does that mean. What kind of people are around? The audience isn’t conscious of all that, but all these details form the fabric of the film and accumulate over all the scenes. The visual seems more important, more dominant, but it’s the sound and music that often tell the real story of what’s going on in a film. So I love love love working on all the sound. (At part of his process, Hein used Avid Pro Tools 12.5 Native during editorial, Pro Tools 12.5 HD in the mix studio and the Avid System 5 mixing console during the mix.)

How important was the DI on this?
We did it with colorist Joe Gawler, who did Arrival. In my opinion he’s the greatest on this planet. He is the man! I had the master Fred Elmes as my DP, and when I got the two of them together — I was thinking, “How did I trick these great artists into working with me?!” So I sat in on the timing, but I defer to them as they really elevate the look, which is really quite beautiful. (Gawler used Blackmagic’s DaVinci Resolve.)

What’s the state of indies today?
Financing is much harder now, and there are fewer companies, especially in the States. And the theatrical release used to be the big business part of it, and then the video release and so on was just ancillary. But now that’s totally flipped, and the theatrical release is just the promotion for the VOD and so on. It’s mind-boggling for me, though it doesn’t affect how you make a film. When people say, ‘The novel’s dead, it’s the end of cinema,’ that’s all nonsense. These art forms change and fluctuate and mutate, but they don’t die.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


The A-List: Manchester by the Sea director Kenneth Lonergan

By Iain Blair

It’s been 16 years since filmmaker and playwright Kenneth Lonergan made his prize-winning debut at Sundance with You Can Count on Me, which he wrote and directed. The film won the Sundance Grand Jury Prize and was an Academy Award and Golden Globe nominee for Best Screenplay.

Lonergan’s most recent film is also garnering award attention. Directed by one of the most distinctive writing talents on the American indie scene today, Manchester by the Sea, fulfills that earlier promise and extends Lonergan’s artistic vision.

Kenneth Lonergan

Both an ensemble piece and an intense character study, Manchester by the Sea tells the story of how the life of Lee Chandler (Casey Affleck), a grieving and solitary Boston janitor, is transformed when he reluctantly returns to his hometown to take care of his teenage nephew Patrick (Lucas Hedges) after the sudden death of his older brother Joe (Kyle Chandler). It’s also the story of the Chandlers, a working-class family living in a Massachusetts fishing village for generations, and a deeply poignant, unexpectedly funny exploration of the power of familial love, community, sacrifice and hope.

Co-produced by Matt Damon, the film from Roadside Attractions and Amazon Studios — which received four SAG nominations, a crucial Oscars barometer — has a stellar behind-the-scenes list of collaborators, including DP Jody Lee Lipes (Trainwreck, Martha Marcy May Marlene), editor Jennifer Lame (Mistress America, Paper Towns), composer Lesley Barber (You Can Count on Me) and production designer Ruth De Jong (The Master, The Tree of Life).

I recently spoke with Lonergan about making the film and his workflow.

I heard Matt Damon was very involved in the genesis of this. How did this project come about?
Matt, his producer Chris Moore and John Krasinski were talking on the set of this film they were shooting about ideas for Matt’s directing debut. Matt and John brought me the basic idea and asked me to write it. So, I took some of their suggestions and went off and spent a couple of years working on it and expanding it. I don’t really start off with themes when I write. I always start with characters and stories that seem compelling, and then let the themes emerge as I go, and with this it became about people dealing with terrible loss, with the story of this man who’s carrying a weight that’s just too much to bear. It’s about loss, family and how people cope.

Is it true that Damon was going to star in it originally?
Yes, but what actually happened was that John was going to star and Matt was going to direct it, but then John’s schedule got too busy and then Matt was going to star and direct it, and then he also got too busy, so then I came onboard to also direct.

You ended up with a terrific cast. What did Casey Affleck, Michelle Williams and Lucas Hedges bring to their roles?
Casey’s a truly wonderful actor who brings tremendous emotional depth even without saying much in a scene. He’s very hard working, never has a false moment and really has the ability to navigate through the complicated relationships and in the way he deals with people.

Michelle has a tremendous sense of character and is just brilliant, I think. She brings a beautiful characterization to the film and has to go through some pretty intense emotions. They’re both very generous actors, as there are a lot of people they have to interact with. They’re not show-boaters who just want to get up there and emote. And Lucas is this real find, a very talented young actor just starting out who really captured this character.

You shot this on location all over Cape Ann. How tough was it?
It was a bit grueling, as we shot from March until April and it was pretty cold a lot of the time, especially during prep and scouting in February. We had some schedule and budget pressures, but nothing out of the ordinary. I loved shooting around Cape Ann — the locals were great, and the place really seeped into the film in a way that I’m very happy about.

Do you like the post process?
I love post because of the quiet and the chance to really concentrate on making the film. I also like the lack of administrative duties and the sudden drop in the large number of people I’m responsible for on a set. It’s just you, the editor and editorial staff. Some of the technical finishing procedures can be a bit tiring after you’ve seen the film so many times, but overall post is very enjoyable for me.

I loved my editor, and doing all the sound mixing; it was so much fun putting it all together and seeing the story work, all without the stress of the shoot. You still have pressures, but not on the same scale. We did all the post in New York at Technicolor Postworks, and we worked from May through September so it was a pretty relaxed schedule. We had our basic template done by October, and then we did a bunch of little fixes from that point on so it would be ready for Sundance. Then we did a bit more work on it, but didn’t change much — we added four minutes.

Talk about working with editor Jennifer Lame. Was she on the set?
No, we sent her dailies in New York and we never actually met face-to-face until after the shoot. I had to interview her on the phone when she was in LA working on another job, and we got along right away. She’s a wonderful editor. We began cutting on Avid Media Composer at Technicolor Postworks and then did some over the summer at my rental house in Long Island, where she’d come over and set up. Then we finished up back in New York.

How challenging were all the flashbacks to cut, as they’re quite abrupt?
All the flashbacks were very interesting to put together, but they didn’t really present more of a challenge than anything else because they’re such an intrinsic part of the whole story. We didn’t want to telegraph them and warn the audience by doing them differently. We discussed them a lot. Should they be color-timed differently? Should they be shot differently? Look and sound different?

In the end, we decided they should be indistinguishable from the rest, and it’s mainly only because of the content and behavior that you know they’re flashbacks. They were fun to weave into the story, and the more seamless they were the better we liked it. Jennifer actually pointed out that it was almost like telling two stories, not just one, because that’s how Lee experiences the world. He’s always dealing with memories which pop up when they’re least wanted, and when he returns home to Manchester he’s flooded by memories — for him the past and present are almost the same.

You shot in early spring, but there’s a lot of winter scenes, so you must have needed some visual effects?
Some, but not that much. Hectic Electric in Amsterdam did them all. We had some snow enhancement, we added some smoke, clean-up and did some adjustments for light and weather, but scenes like the house fire were all real.

How important is sound and music to you?
It’s hard to overstate. For me, music has the biggest influence on the feeling of a scene after the acting — even more than the cinematography in how it can instantly change the tone and feeling. You can make it cheerful or sad or ominous or peaceful just with the right music, and it adds all these new layers to the story and goes right to your emotions. So I love working with my composer and finding the right music.

Then I asked [supervising sound editor/re-recording mixer] Jacob Ribicoff to record sounds up in Cape Ann at all our locations — the particular sound of the marina, the woods, the bars — so it was all grounded in reality. The whole idea of post sound, which we did at Technicolor Postworks with Jacob, was to support that verisimilitude. He used Avid Pro Tools. There’s no stylization, and it was also about the ocean and that feeling of never being far from water. So the sound design was all about placing you in this specific environment.

Where did you do the DI?
We did the color correction with Jack Lewars, also at Technicolor Postworks. He did the final grade on Autodesk Flame. We shot digitally but I think the film looks very filmic. They did a great job.

Did it turn out the way you first envisioned it?
Pretty much, but it always changes from the script to the screen, and once you bring in your team and all their contributions and the locations and so on, it just expands in every direction. That’s the magic of movies.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


The A-List: Director Garth Davis on the Oscar-nominated Lion

By Iain Blair

The plot of Lion, the new awards-buzzy Weinstein film, sounds like an over-the-top, completely made-up Hollywood tearjerker — a five-year-old Indian boy named Saroo (Sunny Pawar) wanders onto a train, falls asleep and wakes up thousands of miles away from his home and family. Frightened, he ends up in chaotic Kolkata. Somehow he survives living on the streets, escaping all sorts of terrors and close calls, before ending up in an orphanage.

Eventually, Saroo is adopted by an Australian couple (Nicole Kidman and David Wenham) and finds love and security as he grows up in Hobart. As an adult, not wanting to hurt his adoptive parents’ feelings, Saroo (Dev Patel) suppresses his past and his hope of ever finding his lost mother and brother, but a chance meeting with some fellow Indians re-awakens his buried yearning. Armed with only a handful of memories, his unwavering determination and Google Earth, Saroo sets out to find his lost family and finally return to his first home.

L-R: Writer Iain Blair and Garth Davis.

This true story, adapted from the memoir A Long Way Home by Saroo Brierley, was directed by Emmy Award-nominated Garth Davis (Top of the Lake). The screenplay was by Luke Davies (Candy, Life). The film was nominated for an Oscar in the Best Picture category.

I talked to Davis about making the film and his workflow.

This is your first film. What were you looking for in a project?
I’d read a lot of stuff, but I only wanted to make something I was very moved by, scared by, where there was something I could explore and question. I was just so moved by this story and felt there was a lot that I could bring to it. Producers Emile Sherman and Iain Canning of See-Saw Films, who did the Oscar-winning The King’s Speech, offered it to me at Sundance in 2013. We were there for the world premiere of the TV series Top of the Lake, which I co-directed with Jane Campion for See-Saw. I just had to do it. We got the rights and I began doing research very early on — even before the book came out — and digging into the story in a deeper way, and retracing all the steps in India and Australia.

When you first read this, did you think, ‘No one’s going to believe this. It’s just too Hollywood’?
Yes. That was the big risk of doing it. So the task for me was to make a movie that was a lot more complicated, with a lot more detail, because the basic story was very simple. Luke did a great job with his script in expanding it all. But when I began, I didn’t really have the end game in mind. I was very excited by the story, curious about the characters and also curious about how the miracle came about. It was a great spiritual story as well, which really attracted me.

Photo: Mark RogersYou’ve had successful career directing commercials. How did that prepare you?
They’re great preparation in terms of your practical skills, shooting in lots of complicated situations, dealing with tons of problems — so you get very experienced on set, but also in telling stories succinctly, paring things down to what works and what doesn’t.

You assembled a stellar cast — along with co-star Google Earth — but one of the great challenges must have been finding an Indian boy to play Saroo as a five-year-old?
It was, and we screen-tested thousands of children before we found Sunny. He’s a natural and we got lucky, because children can be good actors from about the age of eight but it’s very difficult to find a five year old capable of acting. But I knew it was important to have a small boy, as it’s visually very powerful having a tiny boy lost in the big, wide world, and he had this great look behind his eyes; he turned into an actor before our very eyes. And then Nicole and Dev and everyone just got called in by the story — that was the hook.

You shot on location in Kolkata. Was that tough?
Very tough. Absolutely. I enjoy complicated locations, but shooting there’s not for the faint-hearted as you’re dealing with all the crowds, the heat, the pollution, the dust. We kept it as agile as possible, and there’s glory there if you can get it right. But you run into so many problems, like you’re allowed to shoot on this railway platform for three hours, and then you get there, the train arrives, and there are padlocks on every door, so your three hours turn into 40 minutes.

Do you like post?
Love it, as you’re crafting all the way to the end. We did it all in Melbourne at Digital Pictures and Iloura, who did all the VFX. Then we did all the sound at Sound Firm with sound designer Robert Mackenzie. Sound design was very important in this film to the story, and we established a lot of audio maps, all the sounds of nature, and we had a lot of subtle stuff going on.

Tell us about working with editor Alexandre de Franceschi, who’s a frequent collaborator with Jane Campion, and who cut John Curran’s The Painted Veil.
He never came to the set. He was in Sydney while we were shooting and then when I got back, he came up to Melbourne and we began cutting. We watched the assembly and then all the rushes together. This had a special emotional alchemy, so the challenge was to not move too quickly through a sequence or something got lost. We had to honor the emotional arc of the story, so it was a very artistic thing. On the one hand, you had to structure the story, but on the other we had to really pay attention to that arc and it was a very detailed edit. It took us about six months in the end.

This is obviously not a VFX-driven piece, but they were important, right?
Yes, and the main VFX stuff was the butterflies, and the matte painting of the guard running beside the train on the embankment. We had a big problem when we shot that, as they wouldn’t let us take the train out again, and we ended up shooting that scene in the railway yard which was really depressing. But the matte painting worked very well, And then during the edit we decided to combine two Google searches into one, but they were shot at different times in different locations, and Dev was wearing a t-shirt in one and long-sleeved shirt in the other, and Iloura changed the tee to a long-sleeved shirt, which was pretty amazing.

Dev Patel and Rooney Mara star in LIONCan you talk about the importance of music and sound in the film?
I love sound because it creates this immersive experience. You can have an interior scene and have sound from 100 meters away, and you may not consciously notice it, but it places it in context. So I decided very early on that the sound design would be crucial on this. So, for instance, when Saroo first wakes up alone on the platform, there’s no sound to create that sense of peril — just the cicadas, which becomes overbearing. And I love music and didn’t want to be afraid of using it.

Where did you do the DI?
At Digital Pictures with colorist Olivier Fontenay. I’ve done so many for the commercials, so I’m pretty experienced. The difference is you’re working with the cinema screen a lot more, doing the sound mix with Dolby Surround, and working with far higher image resolution, which I loved. I’m completely in the world of the movie and I don’t want to leave.

What’s next?
I’ve shot my second film, Mary Magdalene, and we’ll be doing all the post back in Melbourne again where I’m based — the same set up basically. I’m so excited about it.

Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Paramount Pictures

The A-List: Arrival director Denis Villeneuve

By Iain Blair

Dark and super-intense dramas are the specialty of acclaimed French-Canadian filmmaker Denis Villeneuve. His 2010 feature film Incendies, a drama about the legacy of civil war in Lebanon for a Montreal immigrant family, earned a Best Foreign Language Film Oscar nomination. Villeneuve made his Hollywood directorial debut with Prisoners, a suburban-vigilante drama starring Hugh Jackman and Jake Gyllenhaal. It too was nominated for an Oscar. He followed that with Enemy, an eerie thriller starring Gyllenhaal as a history lecturer who discovers an unexpected alter ego.

Director Denis Villeneuve and writer Iain Blair.

But it was his explosive 2015 hit Sicario — about an idealistic FBI agent (Emily Blunt) whose hunt for justice thrusts her into the lawless US/Mexican border where drugs, terror, illegal immigration and corruption challenge her moral compass — that really got Hollywood’s attention. The film received three Academy Award nominations, including Best Achievement in Cinematography (Roger Deakins) and Best Achievement in Sound Editing (Alan Robert Murray) and paved the way for his latest film, the sci-fi drama Arrival.

When mysterious spacecraft touch down across the globe, an elite team, led by expert linguist Louise Banks (Amy Adams) is brought together to investigate. As mankind teeters on the verge of global war, Banks and the team race against time for answers. But this Paramount release is not your usual alien invasion epic.

I spoke with Villeneuve, who’s currently in post production on his biggest project to date — the sequel to the cult classic Blade Runner, starring Harrison Ford and Ryan Gosling — about making Arrival, which has been nominated for eight Oscars, including best director in Villeneuve and best editor in Joe Walker. (Read out interview with Walker here.)

This is your first sci-fi film, but definitely not your usual kind. What was the appeal of doing it?
Yes, it’s my first but I was raised on sci-fi and was swimming in it as a kid. I read a lot of comic books out of Europe — those great graphic novels. I was dreaming of doing a sci-fi film for a very long time, but was looking for the right story, and then this came along. I was so excited because this was a chance to do something very different. It’s an alien invasion, but told from an intimate point of view, by this person who’s in mourning and dealing with strong emotions in her life, and who suddenly is thrust into this momentous ARRIVALevent. So it’s about aliens but also a mother-daughter story.

This is also your sixth film with a female protagonist. Why do you love having women at the center of your films?
The truth is, in my first two films I had two female leads and for me it was a way to get some critical distance from my subjects. I don’t know why. Then it just carried on from there. I’m in love with women and femininity and very interested in the female world, and I love to tell their stories. For me, being a man is about taking control, but being a woman is more about listening, and I love the tension between the two.

Is it true that with Sicario, there was some pressure to change the female lead to a man?
Yes, but it was telling this story of drug violence through a woman’s eyes that really interested me. That really interested me! I like strong women.

What did Amy Adams bring to this role?
A great sense of her character’s internal life, her inner world. She has this great capacity to play several layers at once, and is able to convey very strong emotion without words, which I don’t see too often.

What were the main technical challenges in pulling it all together?
By far the biggest was creating the aliens and figuring out this new life form — its way of thinking and behaving, its culture and its language. Creating something that’s never been seen before without it looking just like a visual effect was very hard and took a long time.

How early on did you start integrating post and all the VFX?ARRIVAL
From the very start, and you now have to prep for post. Even so, it still feels like the process is too fast. I like to have a lot of time in post and the edit to think about the film and change things, but all the VFX guys were very hungry to get started as soon as possible, and that caused some tension. It was a very complex cinematic structure, and I needed to be able to play with it in the editing room.

Do you like the post process?
I absolutely love post and editing — so much so that if I wasn’t a director I’d be an editor. It’s insane the amount of creativity you have in post, and you don’t have to deal with all the problems with weather and actors and equipment and time and money. You can just focus on the creative part of actually making the film, so I love post. We did the whole film in Montreal. We shot it there, and used VFX houses there, and there are so many good ones — Rodeo, Oblique FX, Alchemy 24, Raynault and Hybride.

Talk about editing with Joe Walker, who cut Sicario for you and was Oscar nominated for 12 Years a Slave. Was he on the set?
Joe never likes to visit sets, for a very specific reason — when he sees all the hard work and pain we go through to get a particular shot, it makes him afraid to cut. So he came to Montreal and we sent him dailies and he started. Then he worked with me on the director’s cut. It was a very long edit and we worked non stop for about eight months. It’s the longest edit I’ve ever done, first because it was a nonlinear structure, and second because we wanted to give clues to the audience without revealing too much.

So it was very tricky, especially since two of my main characters were completely digital. So it was a tough edit and it took time to work it all out. Joe was also very involved in all the sound design, as he began as a composer and then as a sound editor, so we did the sound together as we cut.

Denis Villeneuve and Amy Adams on set.

The VFX play a crucial role. Talk about working with VFX supervisor Louis Morin, who did Sicario for you, and whose credits include The Aviator and Brokeback Mountain.
I’m very grateful to him because he understood that the edit was very complicated, and I put his team under a lot of time pressure, as I took my time. The spaceships and aliens were designed, but all the scenes with them and everything else had to evolve in the edit. Then we had hundreds of computer screens in the military tents and we had to feed all those, which was a lot of work, and then all the military equipment. It was very complicated.

What was the hardest VFX sequence to do?
Definitely the aliens. If you have a machine-like alien, it’s a lot of work but not difficult to do. What is really hard, is creating a life form that looks real — not like a visual effect — and one the audience will accept and have an emotional experience with. Hybride did them, and while it was a huge challenge, they did a fantastic job. And I was very involved. I sat down with the artists to share ideas and that’s the only way you can get it right.

Where did you do the DI and how important is it to you?
In Montreal with Harbor Picture Company colorist Joe Gawler (who worked out of Mels, which used to be Vision Globale). It’s so important and dealing with the aliens was the main thing. But the rest was fairly simple as we did so much in camera.

What can you tell me about Blade Runner 2049?
(Laughs) Not much. I’m not allowed to say much, but it was the biggest, most ambitious and longest thing I’ve ever done, and we’re currently in the middle of post on the Sony lot. It’ll be out next October.

What’s next?
Nothing. I need a long break to recharge after doing the last three films back to back.

Check out the trailer:


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

catherine orchard

Derby picks director Catherine Orchard for roster

New York-based production company Derby has added Catherine Orchard to its directorial roster. Formerly a graphic designer and art director, Orchard’s work in the creative departments of various brands and magazines has helped her to develop an eye for strong imagery in combination with humor and lyrical storytelling.

She has worked with a variety of brands and magazines, including Bobbi Brown, Alice + Olivia, Jane, Travel + Leisure and Vibe. Most recently, she has been directing for Loft and Teen Vogue.

We checked in with Brooklyn-based Orchard to find out how she works and what her process is like: “Whenever I start a project, I look at what the existing elements are and break them down to what’s key and what needs to be said or shown. Then I let my imagination wander and take inventory on the many ways to put those particulars into a story. I like having a starting point of knowing the character (so cliché, but how else?!) and then the tone and look follows.”

That goes for any project, she says, whether it be commercial, narrative or experimental. “I’m interested in trying out some of the technical things, like practical lighting tricks, VFX and camera movements if it makes sense for the story’s look and tone. I also do research to sort out what the story might actually look and feel like. Then I revise. That’s usually the way I start each and every one of my projects.”

When asked about a recent job, Orchard talked about working with the kids from Netflix’s Stranger Things for Teen Vogue. “We had less than one hour to film, so I thought playing a game of charades would be fun — they made up their own dreams and nightmares. I should mention that serving candy to kids at 9am is a very cheap trick, but it worked!”

While Orchard hasn’t yet helmed a job for Derby, future projects can be expected to come from her in early 2017.  Orchard joins Derby’s directorial roster, which includes Lucas Borrás, Nickolas Duarte, The Bozzwicks and John Poliquin. Since the company launched in the fall of 2015, Derby has produced campaigns with its agency and brand partners for Listerine, Lucky Charms, Johnson & Johnson, Sauza, Erno Laszlo and others.