Tag Archives: Directing

Missing Pieces hires head of VR/AR/360, adds VR director

Production company Missing Pieces has been investing in VR recently by way of additional talent. Catherine Day has joined the studio as head of VR/AR/360. She was most recently at Jaunt VR where she was executive producer/head of unscripted. VR director Sam Smith has also joined the company as part of its VR directing team.

This bi-coastal studio has a nice body of VR under its belt. They are responsible for Dos Equis’ VR Masquerade and for bringing a president into VR with Bill Clinton’s Inside Impact series. They also created Follow My Lead: The Story of the NBA 2016 Finals, a VR sports documentary for the NBA and Oculus.

In her new role, Day (pictured) will drive VR/AR/360 efforts from the studio’s Los Angeles office and oversee several original VR series that will be announced jointly with WME and partners in the coming months. In her previous role at Jaunt VR, Day led projects for ABC News, RYOT/Huffington Post, Camp 4 Collective, XRez, Tastemade, Outside TV, Civic Nation and Conservation International.

VR director Smith is a CD and VR director who previously worked with MediaMonks on projects for Expedia, Delta, Converse and YT. Smith also has an extensive background in commercial visual effects. His has a deep understanding of post and VFX, which is helpful when developing VR/360 projects. He will also act as technical advisor.

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.

The A-List: Jackie and Neruda director Pablo Larraín

By Iain Blair

Chilean director Pablo Larraín has been hailed as one of the most ambitious, iconoclastic, daring — and important — political filmmakers of his generation thanks to such films as No, a drama about the 1988 plebiscite that brought an end to the Pinochet era; Tony Manero, about a man obsessed with John Travolta’s disco dancing character from Saturday Night Fever; and The Club, a drama about disgraced priests.

iain-and-pablo

Writer Iain Blair and director Pablo Larraín.

He’s also one of the hardest-working directors in the business, with two major releases out before Christmas. First up is Fox’s Jackie, about one of the greatest icons of the 20th Century. It stars Natalie Portman as first lady Jackie Kennedy and is set in the immediate aftermath of the Kennedy assassination. That’s followed by Neruda, which focuses on the life of Pablo Neruda, one of the greatest poets of the 20th Century. Neruda is Chile’s Oscar submission, and Jackie, Larrain’s first English-language film, is also getting a lot of Oscar and awards season buzz.

I talked to Larraín about making the films and his workflow.

Why make back-to-back films?
I never planned it this way. I was going to make Neruda, and then we had to push it six months for a lot of reasons. My last film, The Club, won an award at Berlin, and Darren Aronofsky headed up the jury and asked me to direct Jackie, which he produced. So I ended up doing Jackie right after Neruda.

So what does a Chilean director shooting in Paris bring to such an iconic American subject?
The view of an outsider, maybe. We were doing a lot of post on Neruda in Paris, and the film was mainly made and cut there at Film Factory. Natalie was also living there, so it all came together organically. We built all the interiors there — the White House and so on.

Jackie

Neither film is your run-of-the-mill biopic. Can you talk about Jackie, which has a lot of time compression, random memories and flashbacks?
I don’t like normal biopics. They’re very tricky to do, I think. More than anything we wanted to find and discover the specific sensibility that was Jackie and examine all the events that happened after the assassination. It was also about capturing specific emotions and showing her strengths and weaknesses, and all the paradoxes and controversies that surrounded her. So we approached it from fiction. Good biopics aren’t really biographical; they just try to capture a sense of the person more through atmosphere and emotions than a linear plot and structure.

You must have done a lot of research?
Extensive — looking at newsreels, interviews, reading books. Before all that, I had a very superficial idea of her as this person who was mainly concerned about clothes and style and furniture. But as I researched her character, I discovered just what an incredible woman she was. And for me, it’s also the story of a mother.

Jackie

What were the main technical challenges of making this?
The biggest challenge for me was, of course, making my first film in English. It wasn’t easy to do. My other biggest challenge was making a film about a woman. In my films, the main characters have always been men, so that was the biggest one for me to deal with and understand.

Do you like the post process?
I love it — and more and more, the editing. It’s just so beautiful when you sit with the editor, and every scene you’ve shot is now cut in that first cut. Then you go, “Alright, where do we go now, to really shape the film?” You start moving scenes around and playing with the narrative. I think it was Truffaut who said that when you shoot, you have to fight with the script, and then when you edit, you have to fight with the shoot, and it’s so true. I’ve learned over the years to really embrace post and editing.

You worked with editor Sebastián Sepúlveda on Jackie. Tell us about that relationship and how it worked.
He began cutting while we were shooting, and when we wrapped we finished cutting it at Primo Solido, in Santiago, Chile. We did all the pre-mixes there too.

This is obviously not a VFX-driven piece, but as with any period piece the VFX play a big role.
Absolutely, and Garage, a VFX company in Santiago, did about 80 percent of them. They did a great job. We also used Mikros and Digital District in Paris. I like working with visual effects when I have to, but I’m not really a greenscreen guy (laughs). Both films were fun to do in terms of the effects work, and you can’t tell that they’re visual effects — all the backgrounds and so on are very photorealistic, and I love that illusion… that magic. Then there’s a lot of work erasing all the modern things and doing all the cleanup. It’s the kind of post work that’s most successful when no one notices it. (Check out our interview with Jackie editor Sebastián Sepúlveda.)

Neruda

Neruda

Let’s talk about Neruda, which is also not a typical biopic, but more of “policier” thriller.
Yes, it’s less about Neruda himself and more about what we call the “Nerudian world.” It’s about what he created and what happened when he went into hiding when the political situation changed in Chile. We created this fictional detective who’s hunting him as a way of exploring his life.

Along with Jackie, he was a real person. Did you feel an extra responsibility in making two films about such icons?
Yes, of course, but if you think about it too much it can just paralyze you. You’re trying to capture a sense of the person, their world, and we shot Neruda in Chile, Buenos Aires and a little bit in Paris.

What did you shoot the films on?
We shot Jackie on film and on Super 16, and Neruda on Red. I still love shooting on film more than digital, but we had a great experience with the Red cameras and we used some old Soviet anamorphic lenses from the ‘60s that I found in LA about eight years ago. We got a beautiful look with them. Then we did all the editing in Paris with Hervé Schneid but with a little help at the end from Sebastián Sepúlveda to finish it in time for its Cannes debut. We changed quite a few things — especially the music.

Neruda

Can you talk about the importance of music and sound in both of the films?
Well, film is an audio-visual medium, so sound is half the movie. It triggers mood, emotion, atmosphere, so it’s crucial to the image you’re looking at, and I spend a lot of time working on the music and sound with my team — I love that part of post too. When I work with my editors, I always ask them to cut to sound and work with sound as well, even if they don’t like to work that way.

How is the movie industry in Chile?
I think it’s healthy, and people are always challenging themselves, especially the younger generation. It’s full of great documentaries — and people who’ve never worked with film, only digital. It’s exciting.

What’s next?
I don’t quite know, but I’m developing several projects. It’s whatever happens first.


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.

GenPop’s Bill Yukich directs, edits gritty open for Amazon’s Goliath 

Director/editor Bill Yukich helmed the film noir-ish opening title sequence for Amazon’s new legal drama, Goliath. Produced by LA-based content creation studio GenPop, the black and white intro starts with Goliath lead actor Billy Bob Thornton jumping into the ocean. While underwater, and smoking a cigarette and holding a briefcase, he casually strolls through rooms filled with smoke and fire. At the end of the open, he rises from the water as the Santa Monica Pier appears next to him and as the picture turns from B&W to color. The Silent Comedy’s “Bartholomew” track plays throughout.

The ominous backdrop, of a man underwater but not drgoliathowning, is a perfect visual description of Thornton’s role as disgraced lawyer Billy McBride. Yukich’s visuals, he says, are meant to strike a balance between dreamlike and menacing.

The approved concept called for a dry shoot, so Yukich came up with solutions to make it seem as though the sequence was actually filmed underwater. Shot on a Red Magnesium Weapon camera, Yukich used a variety of in-camera techniques to achieve the illusion of water, smoke and fire existing within the same world, including the ingenious use of smoke to mimic the movement of crashing waves.

After wrapping the live-action shoot with Thornton, Yukich edited and color corrected the sequence. The VFX work was mostly supplementary and used to enhance the practical effects which were captured on set, such as adding extra fireballs into the frame to make the pyrotechnics feel fuller. Editing was via Adobe Premiere and VFX and color was done in Autodesk Flame. In the end, 80 percent was live action and only 20 percent visual effects.

Once post production was done, Yukich projected the sequence onto a screen which was submerged underwater and reshot the projected footage. Though technically challenging, Yukich says, this Inception-style method of re-shooting the footage gave the film the organic quality that he was looking for.

Yukich recently worked as lead editor for Beyoncé’s visual album Lemonade. Stepping behind the lens was a natural progression for Yukich, who began directing concerts for bands like Godsmack and The Hollywood Undead, as well as music videos for HIM, Vision of Disorder and The Foo Fighters.

The A-List: Bleed for This director Ben Younger

By Iain Blair

Writer/director Ben Younger had been MIA for quite a while. Back in 2000 he made a splash with his acclaimed feature debut, Boiler Room. This tense crime drama, which starred Ben Affleck and Vin Diesel, was set in the high stakes, testosterone-fueled — and sometimes illegal — world of brokerage firms and investment banking.

Five years later, he directed his second film, the Meryl Streep/Uma Thurman romantic dramedy Prime, which grossed $67 million worldwide and cemented his reputation as someone to watch. Then Younger disappeared from sight.

Director Ben Younger and writer Iain Blair.

Over a decade later, he’s back with his third film, Bleed for This, a super-intense boxing drama and the true comeback story of Vinny Pazienza, the “Pazmanian Devil” (Miles Teller), whose boxing career should have ended when a terrible head-on car smash left him with a badly broken neck and few chances of ever walking again, let alone fighting in the ring. Yet he refused to throw in the towel and staged the sport’s most unlikely comeback so he could defend his middleweight world championship.

I spoke with Younger about his disappearance from the industry, making this film and his love-hate relationship with post.

It’s been 11 years since your last film. What the hell happened?
It’s been even longer — 12 years (laughs). I wanted to make this motorcycle racing film, Isle of Man, back in ’07, but no one would make it. I got a little disenchanted, a little upset. I tried to get another movie made, couldn’t get that off the ground either. I stepped back and decided to take five, six years off and go the experiential route instead.

I learned to fly, I became a cook in Costa Rica, went surfing and raced motorbikes for a year professionally. I did all the things my dad never got a chance to do because he died so young. He hated his job, was miserable, and I didn’t want to do that.

I heard you’re not even a boxing fan, so why make this film?
It’s not a boxing film like the usual ones. It’s this incredible comeback story about this guy who had a passion for boxing. I don’t feel that passionate about anything in my life where I would risk paralysis to do it, like he did. So by that measure, it didn’t matter what Vinny did. I would have told the same story whatever his profession. That’s what drew me in.

What did you hope for the film?
Because it’s set in the world of boxing, you can’t avoid comparisons with other films in the genre, so it was important not to fall into cliché and the tired old tropes of every boxing movie. I just wanted to differentiate myself. There’s a lot of humor, which is always a big part of my movies, and I like humor in very dramatic settings.

Martin Scorsese executive produced. Did you ask him for any advice, considering he made Raging Bull?
No, and he didn’t really offer any. He got involved after he showed Boiler Room to his Wolf of Wall Street crew, and then he called me to meet up after reading this script. I was in Costa Rica, cooking, and he said, ‘You’ve got to get back here. I’m going to help you make this movie.’ And he did.

What did Miles Teller bring to the role?
Preparation. He’s a monster. Eight months of training and he knew his boxing. We shot for just 24 days, on a $6 million budget — not enough time or money — so I knew I couldn’t be on set worrying about the boxing itself, or we’d have been in big trouble. So he took all that off the table for me.

Do you like the post process?
I have a love-hate relationship with it. Every movie, inarguably, gets made in post. There’s no question. Same with my other two films. This was written in post, re-imagined in post, reconfigured in post. But there’s something I hate about sitting in a dark room for 12 hours a day. It fucking kills me. It’s a very depressing work environment. You have to do it, but it doesn’t mean you have to like it.

You edited the film with Zac Stuart-Pontier who cut Martha Marcy May Marlene and won two Emmys for HBO’s The Jinx. Tell us about that relationship and how it worked.
He was a PA on Prime, his first job in the industry. He was at NYU and took a semester off to work on the movie, and then his career took off. He wasn’t on set at all as he was still on The Jinx, so we had an assistant editor log it all and he started after the shoot.

We did it all at Harbor Post — everything. It took a good six months. The big problem was I made a mistake in the script, putting the car crash in the middle, and it didn’t work. So we had to ruthlessly cut the first half down so it happened more like a first act, and we lost a lot of stuff. It was a shock to me, but now I’m like, ‘What were you thinking?’

We did some test screenings, and people loved watching all the gambling, the women and so on, but then after the crash scene, retroactively they hated it. They were like, ‘Why take us on the hour-long detour?’ Because of The Jinx, Zac was very used to working in a docu-drama environment, and we had all this great archival footage of Vinny, and I thought maybe we would use some of it at the end credits. But we ended up putting it in the middle of the movie. We break the fourth wall so many times in the editing, and no one seems to mind. We cut from Vinny to Miles to Vinny, and it just works.

Can you talk about the importance of music and sound in the film?
It’s over half the film, and when you don’t have the budget it’s the cheapest thing you can do to radically improve your film. A good score and mix can improve it by 25 percent, easily.

Where did you mix the sound?
All at Harbor on their huge new Atmos stage, but my supervising sound editor Coll Anderson has his own studio in Woodstock where we did the pre-mixes.

This is obviously not a VFX-driven film, but I’m assuming there was some in the crash scene?
And crowd replacement stuff at the fights, some compositing. It was all done by Eyeball in LA. They did a great job on the crash, and they’d never done that sort of thing before.

How important was the DI on this, and where did you do it?
Hugely important. I worked closely with DP Larkin Seiple and colorist Andrew Francis at Sixteen19 in New York, who has an amazing eye. I think I was able to give them a fresh set of eyes after they had been at it for 10 hours. I would take a look and ask, ‘Why is this so blue? Why is this so warm?’ And they would go, ‘You’re right,’ and adjust it a little.

Did it turn out how you originally envisioned it?
From a macro perspective, definitely. It was more the little things — the crash, the archival footage — that changed.

What’s next?
No more long breaks. I’m making Isle of Man next year. It’s funded and happening.

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 Ed Zwick talks Jack Reacher: Never Go Back

By Iain Blair

Director, screenwriter and producer Ed Zwick got his start in television as co-creator of the Emmy Award-winning series Thirtysomething. His feature film career kicked off when he directed the Rob Lowe/Demi Moore vehicle, About Last Night. Zwick went on to direct the Academy Award-winning films Glory and Legends of the Fall. 

Zwick also produced the Oscar-nominated I Am Sam, as well as Traffic — winner of two Golden Globes and four Academy Awards — directed by Steven Soderbergh. He won an Academy Award as a producer of 1999’s Best Picture, Shakespeare in Love.

Ed Zwick

His latest film, Paramount’s Jack Reacher: Never Go Back, reunites him with his The Last Samurai star Tom Cruise. It’s an action-packed follow-up to 2012’s Jack Reacher hit that grossed over $200 million in worldwide box office.

The set-up? Years after resigning command of an elite military police unit, the nomadic, righter-of-wrongs Reacher is drawn back into the life he left behind when his friend and successor, Major Susan Turner (Cobie Smulders), is framed for espionage. Naturally, Reacher will stop at nothing to prove her innocence and to expose the real perpetrators behind the killings of his former soldiers. Mayhem quickly ensues, helped along with plenty of crazy stunts and cutting-edge VFX.

I recently chatted with Zwick about making the film.

You’ve worked in so many genres, but this is your first crime thriller. 
I’ve always loved crime thrillers — especially films like Three Days of the Condor and Bullitt where the characters and their relationships are far more important than the action. That’s where I tried to take this.

Jack Reacher: Never Go BackTom Cruise is famous for being a perfectionist and doing all his own stunts when possible. Any surprises re-teaming with him?
Yeah, I always say the most boring job on set is being Tom’s stunt double. Tom is a perfectionist and he loves to be involved in every aspect of the production, so no surprises there. He has such a great love for all the different genres, but a particular love for action films and thrillers. It was very important for him that he didn’t do something that was like all the other films out there. I think we all felt that superhero fatigue has been setting in, so the idea was to do things on a more human scale, and make it more realistic and authentic, both with the characters and with the action.

What were the main technical challenges of making this?
We shot it all in New Orleans, and it’s a road movie. So we had to shoot Washington, DC, there too, and create a cross-country journey with different airports and so on. We did all of that with some sleight of hand and extensions and VFX. I think it’s also a challenge to come up with new settings for action pieces we haven’t seen before, and that’s where the parade and rooftop sequences in New Orleans come in, along with the fight on the plane. The book it’s based on is set in LA and DC, but they’re both tough to shoot in, and with the great tax breaks in Louisiana and all the great locations, it made sense to shoot there.

Jack Reacher: Never Go BackEvery shoot is tough, but it was pretty straightforward on this, though shutting down the whole French Quarter took some doing —  but all the city officials were so helpful. The rooftop stuff was very challenging to do, and we did a lot of prep and began on post right away, on day one.

Do you like the post process?
I love it. I can sit there with a cup of coffee and my editor and rewrite the entire script as much as I can. It’s the best part and most creative part of the whole process.

Where did you post?
We did it all in LA. We just set up some offices in Santa Monica where I live and did all the editorial there.

You’ve typically worked with Steve Rosenblum, but you edited this film with Billy Weber, who’s been nominated twice for Oscars (Top Gun, The Thin Red Line) and whose credits include The Warriors, Pee Wee’s Big Adventure, Beverly Hills Cop II, Midnight Run and The Tree of Life, among others. How did that relationship work?
Steve wasn’t available so I asked him, ‘Who can I hire that you’d be jealous of?’ He said, ‘There’s only one person — Billy Weber. He’s your guy.’ He was right. Billy’s legendary and has cut so many great movies for directors like Terrence Malik, Tony Scott, Walter Hill, Martin Brest, Tim Burton, and he’s a prince. I love editing, and I loved working with him. He’s a great collaborator, and I was very open to all his ideas.Jack Reacher: Never Go Back

He came to New Orleans and we set up a cutting room there and he did the assembly there as we shot. Then we moved back to LA. Billy lives on the other side of town, so to beat the traffic we’d start every day at 6am and wrap at 3pm. It was a great system.

Can you talk about the importance of music and sound in the film?
I love working with the audio, and Henry Jackman did a great, classic-modern score. It was crucial, not just for all the action, but for some of the quieter moments. Then we mixed the sound at Fox, with Andy Nelson who’s now done 10 of my movies.

This is obviously not a VFX-driven piece, but the VFX play a big role.
You’re right, and we didn’t want it to look like there was a ton of CG work. In the end, we had well over 200 shots, including stuff like the Capitol Dome in DC in the background and tons of bullet hits on cars and enhancements. But I didn’t want all the VFX to be at all noticeable. Lola and Flash Film Works did the work, and often today where you need bullet hits on a car, it’s far cheaper and more time-effective to add them in post, so there was a lot of that.

How important was the DI on this and where did you do it?
We did it at Company 3 in Santa Monica with colorist Stephen Nakamura, who is brilliant. We went for a natural look but also enhanced some of the dramatic scenes [via Resolve]. It’s remarkable what you can do now in the DI, and as we shot on film I wanted to preserve some of that real film look, so I think it’s a light touch, but also a sophisticated one in the DI.

What’s next?
I don’t have anything lined up, so I’m taking a break.


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.

Director Zach Math joins Caviar

Production company Cavier, which has offices in Los Angeles, London, Brussels and Paris, has added director Zach Math to its directorial roster. Math’s series of spots for K-Mart (“Ship My Pants”) got over 50 million views on YouTube and won a Webby Award, and two of his branded shorts are in the permanent collection of the Museum of Modern Art.

His documentary feature, The Final Member, premiered at the Toronto Hot Docs International Film Festival and played festivals all over the world. The distribution rights were purchased by Drafthouse Films and it was released on Netflix. Since then, he’s worked with brands such as Fox Sports, Nissan, AT&T, Comcast and the NFL.

While Math is excited to continue working in the advertising and commercial world, he is also looking forward to taking advantage of Caviar’s film and television capabilities to develop his own long format projects.

“Zach has proven his directorial expertise throughout the branded content world,” says Caviar Los Angeles executive producer Jasper Thomlinson. “His sophisticated visual style, skills as a writer and comedic sensibility fit in here perfectly.”

The A-List: Suicide Squad director David Ayer

By Iain Blair

With his distinctive, anarchic, immersive style, director/producer/screenwriter David Ayer has always excelled at probing the murky depths of human behavior and blurring the lines between the bad guys and the good guys in such hardcore films as Training Day, Fury, Sabotage, Harsh Times and End of Watch. Now Ayer, whose credits include Street Kings, and the screenplays for U-571, The Fast and the Furious, Dark Blue and S.W.A.T., has made Suicide Squad, a blockbuster without the usual bluster, and a superhero movie without the usual heroes.

David Ayer

With an all-star cast that includes Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman and Viola Davis, and based on the DC Comics anti-heroes, it tells the story of a rogues gallery of outcasts who are assembled into a team, equipped with the most powerful arsenal at the government’s disposal, and sent off on a mission to defeat an enigmatic entity.

Ayer’s behind-the-scenes stellar creative team included director of photography Roman Vasyanov, production designer Oliver Scholl, editor John Gilroy and visual effects supervisor Jerome Chen. The music is by composer Steven Price. The Warner Bros. film was released in 3D, 2D and in select IMAX 3D theaters.

I spoke with Ayer on the eve of its release about making Suicide Squad and why editing is like a wrestling match.

This is definitely not your usual superhero movie. What was the appeal of doing it, as there’re so many superhero films out there now? 
Great question. When I did Fury, it was all about historical accuracy and recreating WWII. With this, I wanted to try and create a fantasy world and give it this real and gritty feel that I like as a director, and bring that sensibility to a comic book movie and create multi-dimensional characters through casting amazing actors — and ground the fantastical as much as possible in reality.

What were the main technical challenges in pulling it all together?
In a lot of ways filmmaking is very mechanical, and all the processes are sort of an industrial process. So it was dealing with all the sets and set pieces, the sheer scale of it, and that becomes about logistics — building them, tearing them down, building new sets on the same stages, and how to move all these pieces around and keep your crews running smoothly. It was a massive undertaking.

How early on did you start integrating post and all the VFX?
Sony Imageworks’ Jerome Chen — who did the VFX on Fury, and the Spider-Man films as well as Beowulf and The Polar Express for Bob Zemeckis — came in right at the start. We did extremely complex CG characters in this, so we spent a lot of time figuring out how to go about doing it and what were the best techniques. It took a lot of time and work, and we also had to figure out all the computer time and the renderfarms we needed to generate the shots, so all the VFX were embedded in the shoot from day one. We set up witness cameras to record everything the crew did, we had constant telemetry and a ton of data gathering.

Did you do a lot of previs?
Quite a lot. Third Floor did them. It’s a very interesting technique, as for certain scenes you absolutely have to have it. You have to go in knowing efficiently where you’re going to have to drop that camera on the set, and there are a few scenes that almost exactly match the previs we did. But other times it’s not really an essential tool

You reunited with director of photography Roman Vasyanov, who shot Fury and End of Watch. How tough was the shoot?
We did most of the principal photography at Pinewood Toronto Studios, and it was a long and grueling shoot. I was very happy to get to post!

Do you like the post process?
I love post. You know you’re going to work every day, that’s for sure. We did it all on the lot at Warners. It’s always challenging because film isn’t logical, it’s emotional, and it comes together in strange ways. It’s never a linear journey, and you go down blind alleys and try to solve problems, and not every problem wants to yield its secrets.

Can you talk about working with editor John Gilroy, (Nightcrawler, Pacific Rim, The Bourne LegacyMichael Clayton). Was he on the set?
He set up editorial in Toronto so it was up and running from the beginning. He tried to keep up with the shoot as much as possible as we shot on film, so there’s the lag between photography and the dailies reaching editorial.

And you like to shoot, don’t you?
(Laughs) I do shoot a lot! Over 1.5 million feet of film on this — so it’s a lot of work just to watch it and keep the assembly up to date. Then we did the main editing back on the lot. I love editing even though it’s baffling and frustrating and wonderful, all at the same time. The challenge is always that you can make an infinite number of films out of the same footage, and whatever your ideas and dreams are going in, they’re going to be shattered along the way — because the movie wants to be what it wants to be, and you can only fight that so much. You’re wrestling every day to find the right film.

All the VFX play a big role. Talk about working on them with VFX supervisor Jerome Chen who did Fury for you.
We have this shorthand, and he knows my taste and how I think and what I’m going to want and how I’m going to want it. It’s a pretty seamless relationship, and he also has great ideas; he often surprises me. This was a huge job with thousands of VFX shots, and a lot of vendors, but the main ones were MPC and Sony Pictures Imageworks.

What was the hardest VFX sequence to do?
Anything with full CG characters is hard. It’s hard to shoot that and block it and hard to edit things you can’t see. You end up with this hodgepodge of previs and half-finished shots and slowly the finished VFX stuff gets dropped in.

Where did you do the DI and how important is it to you?
At Shed in Santa Monica, a fairly new company [which runs Baselight’s latest Generation VI system with more grading power]. We did the DI with colorist Yvan Lucas, who co-founded the company. He did Fury, but this was my first time at The Shed, and he did an amazing job. The film looks very beautiful. The DI is so important, and it’s almost my favorite part of post. I get in there and look at every shot. Yvan and Roman would do a pass and then I’d do one, and we’d keep passing the baton like that until we were all happy.

For me, it’s where the film really comes to life. After seeing it in dailies for so long, it’s such a pleasure to see it like this. We did everything from the overall look to saturation and contrast matching, and some re-composition now and again. We shot the film in a very precise way and composed shots very specifically, but the DI lets you do some re-comps if needed when you simply don’t have the time on the day of the shoot, especially with exterior stuff.

Did the film turn out the way you hoped?
It was mostly what I had envisioned, but the mechanics of how you get there and how to tell the best story were a bit different, and you can’t foresee that. It was a great experience, and I can safely say I learned more about filmmaking on this than on any other film I’ve done. It was a maturing as a filmmaker.

What’s next?
I’m doing Bright with Will Smith. We start shooting in the fall.

Will you do another superhero movie?
(Laughs) I’ll wait to see how the fans respond to this before I put my neck on the block again.

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.

GenPop adds Patrick Brice to its directorial roster

Patrick Brice joins the directorial roster at LA-based content creation studio and production company GenPop. Also an actor, he brings with him experience writing, primarily for features, but he joins GenPop to focus on the advertising world.

Brice was first exposed to different ways to approach narrative storytelling while getting his BFA in Film and Video at the California Institute of the Arts. Creep, his first feature film as director/writer/actor (with Mark Duplass) premiered at the 2014 SXSW Film Festival and was distributed by Netflix and iTunes. His second feature as director/writer, The Overnight (starring Adam Scott, Taylor Schilling and Jason Schwartzman) premiered at the 2015 Sundance Film Festival.  The Overnight made the rounds on the festival circuit that year, winning Best Narrative Feature at the deadCenter Film Festival, and earning a nomination for the Grand Jury Prize at Sundance, as well as for an Audience Award at the Edinburgh International Film Festival.

“Liberating” is how Patrick describes the opportunity to create commercial work with GenPop, “Being used to projects that take several years from conception to completion, the chance to focus on a very specific story and explore the narrative within the short format feels like the world is opening up.”

In addition to working with GenPop, Brice is currently writing a movie for Netflix — produced by the Duplass Brothers — which he will also direct. This marks Patrick’s third project with Mark Duplass, a long-term creative relationship that speaks to his collaborative spirit.

The A-List — ‘Independence Day: Resurgence’ director Roland Emmerich

The director talks about this VFX-heavy sequel and how it takes advantage of today’s technology to tell its story. 

By Iain Blair

After two decades of rumors and speculation, “The Master of Disaster” — German director/writer/producer Roland Emmerich — is finally back with Independence Day: Resurgence. This is the long-awaited sequel to his seminal 1996 alien invasion epic Independence Day, one of the most financially successful movies in the history of Hollywood — it ended up making over $817 million worldwide and turning Will Smith into a superstar.

Following that smash, Emmerich went on to make other apocalyptic mega-productions, including Godzilla (the 1998 version), The Day After Tomorrow, 10,000 BC and 2012, all of which were huge box office hits despite little love from the critics. And while Emmerich has also made smaller movies, such as Anonymous, The Patriot and Stonewall, which didn’t involve aliens, the destruction of cities, rising sea levels or vast armies of VFX artists, his latest blockbuster will only further cement his legacy as an ambitious filmmaker who doesn’t just love to blow shit up but who has always seen the big picture. The Fox release opens June 24.

INDEPENDENCE DAY: RESURGENCE

I recently spoke with Emmerich about making the film, which features many visual effects shots, and the post process.

It’s been two decades since Independence Day became a global blockbuster. Why did it take so long to do a sequel?
I made the first one as a stand-alone film, and for 10 years I felt that way. Plus, ideas that were pitched for a sequel didn’t work for me. Then, about six, seven years ago, I was shooting for the first time on digital cameras for the film 2012. We did all of the 1,500 VFX shots in the computer, and it suddenly hit me that the technology had changed so much that maybe it was time to try a sequel.

On the first one I was just so frustrated as I couldn’t do everything I wanted and had imagined, because of all the limitations with VFX and technology back then. I had these scissors in my head — this I can do, that I cannot do — but this time I had no scissors and no limitations, and that was a huge difference for me.

How much pressure was there to top the last film?
I honestly didn’t feel much pressure, although I’m very aware that times have changed. I see all the other big VFX films out there and I keep up on it all and I know how competitive it is now. But I felt pretty good about what we could do with this one. And I feel I’ve always been able to create these “impossible images” where people go, “Oh my God! What is that?” Like water coming over the Himalayas. This time it was this enormous 3,000-mile long alien spaceship that comes down to Earth, like this giant spider. That was the first image I had in my head for the film.

It’s a very image-driven business I’m in, and while you obviously work hard on characters and themes and so on, most of the time it’s these images that pop into my head that inspire everything else. And this giant spaceship wasn’t something we could do back in ’96. It was just impossible.

How different was the approach on this and what sort of film did you set out to make?
I tried very hard to avoid making a classic sequel. And it’d been so long anyway. It’s a different society, and we can stay united and fight together. The other big idea was that we’ve harvested all the alien technology. We can’t rebuild it, but we’ve harvested it, and humans are so ingenious, so we can take it and adapt it for human use and machines. So all these themes and ideas were very interesting to me.

How early on did you start integrating post and all the VFX?
Even when I’m writing I’m already thinking about all the VFX and post, and the moment the script is there it’s well under way. I like to make 25-30 big paintings of key scenes that really show you where the movie’s going — the style, the size of the film. They’re so helpful for showing everyone from production executives at the studio to the visual effects teams. It gives a very clear visual idea of what I want. Then you break it down into sequences and start storyboarding and so on.

INDEPENDENCE DAY: RESURGENCE

You must have done a lot of previz for this one?
Yes, but we had very little time because of the release date, and it was very complicated. I had started shooting already and still had to do previz since we weren’t able to previz the whole film before. We needed to previz everything, so I had double duties: at lunch and after shooting I always had to meet with my previz team. When I look back, the film was like a long race against time.

Post and VFX have evolved so much since the first film. What have been the biggest changes for you?
The biggest for me is the whole digital revolution. Digital cameras can now make far better blue- and greenscreen composites, and we shot with Red Weapon Dragons. That’s huge for me as I used to hate the old look of composites and all the limits you had, whereas now, if you can imagine it, you can do it. The computer gives you infinite possibilities in VFX. On the first one I would have these images in my head and then find out we couldn’t do them. Anything is possible today.

Where did you post?
We rented offices in North Hollywood, and we had our editing suite there… the 3D people, and the VFX team. For sound, I always work with sound designer Paul Ottosson, who has his whole set-up at Sony on the lot. So we did all the mixing there, including a Dolby Atmos mix.

INDEPENDENCE DAY: RESURGENCE
This was edited by Adam Wolfe, who cut Stonewall and White House Down for you. Tell us about that relationship and how it worked.
He’s a very active editor and he’ll run on to the set saying, “I need this or that.” He’s not on the set all the time, but he’s close by when I shoot, and we’ll work together on the weekends so I can get a feel for the film and what we’ve shot so far.

This is obviously a VFX-driven piece, and the VFX play a big role. Can you talk about that and working with the visual effects supervisor?
I really enjoy working with VFX — from the concepts to cutting the shots in — and working with a relatively small team of maybe 15 people on them every day, talking on Skype or in person, ideally. I feel that you can also cast VFX companies like actors — for their special talents. Some excel at this, some excel at that. If you’re doing a creature film, then Weta is great. If it’s a very complicated sequence with a lot of water and buildings collapsing and fires, then Scanline is great.

I always try and inspire them to do VFX they’ve never done before, so it’s not boring for them. In the end, we used 10 big companies and another five smaller ones, including Weta, CinINDEPENDENCE DAY: RESURGENCEesite, Scanline, Image Engine, Trxter, MPC, Digital Domain and Buf.

What was the hardest VFX sequence to pull off?
The hardest was the big sequence where the mothership starts sucking up Singapore — the whole city and all the ships — before throwing it on London. That was very complicated to do, and Scanline did an amazing job. The whole scene at the end with the alien battle was also very hard to pull off. That took months and months to do, and the companies started doing tests and simulations at a very early stage. They also sent some of their people to the set to advise you on how best to shoot the live action to go with their VFX.

What’s next?
Another huge film, I hope. I love them. It’s my job, my business.

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.