True Field Test is a podcast from creatives for creatives -- filmmakers, cinematographers, editors, post production supervisors, and other storytellers putting gear through real-world tests, reviewing products and workflows and talking industry insights, news and forecasts.
On this episode filmmaker Sergio Pinheiro will be discussing Anamorphic Lenses for Mirrorless Cameras, the challenges he faces both budgetary and production quality and the new company that may change everything for only $500.
Workflow Engineer, Cutter Stevens discusses on the changing landscape of production distribution -- different deliverables for different outlets, where does it need to go, what do we need to budget for YouTube, Amazon, Netflix, theatrical, DCP or IMF, or just ProRes. He delivers solid tips on how to make sure you can cover the cost of distribution at the end of your production.
Producer Sarah Mason discusses Award season -- Network TV shut out of the Golden Globes, what does this mean for their future. In a rare move the ASC Cinematography union nominates two women cinematographers for the ASC Awards honors are things really changing?
For over 10 years The HMC has been producing award-winning, popular podcasts, digital content and events . Visit The HMC at thehmcnetwork.com for more episodes and other podcasts
|Posted by: Sarah Mason on Jan 8, 2020 at 10:58:04 pm|| anamorphic lenses review, podcast, workflow, production distribution, post production, cinematography, cinema lenses, cameras, sony, arri, filmmaking, cameras|
On this episode of Conversations with Cooler People than Me on The HMC Network, Sarah Mason and Sergio Pinheiro interview Cinematographer, Mihai Malaimare, about his work on the Golden Globe nominated film, JoJo Rabbit.
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Michael Giacchino (pronounced “Juh-key-no”) has composed original scores for the some of the biggest feature films in recent history, including, The Incredibles, War for the Planet of the Apes, Ratatouille, Star Trek, Jurassic World, Rogue One: A Star Wars Story, and Coco. Giacchino’s 2009 score for the Pixar hit Up earned him an Oscar®, a Golden Globe®, the BAFTA, the Broadcast Film Critics’ Choice Award and two GRAMMY® Awards.
When writer/director, Taika Waititi (Thor: Ragnarok) reached out to Giacchino to score his film Jojo Rabbit, Giacchino was eager to do it. "I didn't know what the film was about but I am a huge fan of his work and how diverse and different it is," said Giacchino. When asked what direction he received Giacchino recounted Waititi saying, "Remember how you made us feel in Up? That's how I want to feel'.
Set during WWII, the film is about Jojo, a lonely German boy, Jojo (Roman Griffin Davis) with a vivid imagination. Jojo's need to fit in with the local Hitler youth is tested when he discovers that his single mother (Scarlett Johansson) is hiding a Jewish girl in their attic. Aided by his idiotic imaginary friend, Adolf Hitler (Waititi), Jojo must confront his blind nationalism as World War II rages on.
The first thing Giacchino did after reading the script (something he rarely does but agreed when Waititi wanted to discuss in advance) was to write an 11-minute suite that showed the course of Jojo's character. "What attracted me was that whole idea of going from an incredibly narrow world view to a very wide world view. That is important because it's something we need now more than ever."
The score was recorded at the iconic Abbey Road Studios in London. Giacchino, who is works frequently with large 110 piece orchestras assembled instead a small, 35 piece orchestra. "It's a small story about a small boy," explained Giacchino. "I wanted to stay true to the story. In every one of his projects, Giacchino's priority is staying true to the story. "That's my number one rule," explains Giacchino. "Don't forget what it's about. I never wanna write music that I just wanna hear. The music I write has to belong to that story."
Giacchino used single instruments, harps and guitar to underscore the emotion of the story. He wrote songs with with lyricist Elyssa Samsel and even used his connection with Paul McCartney to get the rights to "I Want to Hold Your Hand" for a scene about hysteria for Hitler. The score is primarily drawn from Jojo’s emotions. The main melody is played throughout the movie in several different ways. While it begins as a march it later becomes an adagio during the battle as Jojo’s own nationalism begins to transform into something else. "I wanted to create something that began as one thing at the start of the film and ended as something completely different," said Giacchino.
Jojo Rabbit is written and directed by Taika Waititi based upon the book “Caging Skies” by Christine Leunens, has been nominated for two Golden Globe® awards and was named Winner one of AFI's top 10 movies of the year.
Listen to Sarah Mason and Sergio Pinheiro's interview with Michael Giacchino below or download on Apple Podcasts or wherever you get your podcasts.
On this episode of The Harold & Maudecast, Sarah Mason and Jake Essoe interview Cinematographer, Lawrence Sher, for his work on Joker.
Joker marks the sixth film Lawrence Sher has worked with director Todd Phillips. Their successful relationship began with The Hangover and, as you will hear in our interview, has become a critical and valued partnership for both Sher and Phillips. In addition to the Hangover triliogy, Sher's other credits include Godzilla King of the Monsters, Garden State, War Dogs, Father Figures (which he directed) and Kissing Jessica Stein.
In this interview Sher discusses how the locations were key to Arthur/Joker's character arc, Joaquin's now iconic performance and his conversations with the actor, some insider info about the infamous scene with Mr Chow in The Hangover and whether or not more Joker in his the works.
For more interviews and podcast episode visit thehmcnetwork.com
On Episode 362 of The Harold & Maudecast, Sarah and Jake review, Joker.
Fledgling comedian Arthur Fleck (Joaquin Phoenix) has been bullied and disregarded his whole life. After an escalating series of abuse and a very public shaming by his comic idol, Murray Franklin (Robert De Niro), Arthur begins a bloody, destructive revolt against society. This dark path he chooses leads him to embrace his alter-ego: "The Joker".
Director Todd Phillips' (The Hangover trilogy), take on the DC character is now the highest grossing R rated movie of all time. More Taxi Drive than Dark Knight, Joker unravels the layers of the character, driven by one of the greatest performances in movie history. Phoenix's Joker never diminishes the brilliance of Heath Ledger and Jack Nicholson's performances. In his committed, conscientious performance he reminds us that the Joker is one of greatest fictional characters of all time. Please give this man an Oscar.
Spoiler Level: Moderate
For more episodes and other podcasts including our interview with Joker cinematographer, Lawrence Sher, visit thehmcnetwork.com and sign up for our updates!
|Posted by: Sarah Mason on Dec 5, 2019 at 9:51:38 pm|| joker review, movies, joker, dcu, warner bros, batman, dc, review, listen, podcast|
Two of the hardest working real-life Avengers in the MCU are Jeffrey Ford, ACE and Matthew Schmidt. They shared Editor credits on four of the films -- Captain America: Winter Soldier, Captain America: Civil War, Avengers: Infinity War and Avengers: Endgame and worked together on several more MCU films.
The actors and directors take the lions share of the accolades but its these guys who were literally on the front lines, manipulating the tone, pace, and comedic beats, crafting character archs, and storylines. Avengers: Infinity War and Avengers: Endgame were shot at the same time often forcing the crew to bounce back and forth relentlessly between films and sequences, juggling constant script changing as they shot, "It was like an extreme sport more than filmmaking," stated Ford.
Before joining the MCU with Captain America: The First Avenger, Ford worked on the opposite end of the genre spectrum cutting films like the beloved Christmas classic, The Family Stone, for which he won an ACE "Eddie" Award. Some of his other credits include One Hour Photo, Public Enemies and Crazy Heart. Schmidt joined the MCU on 2012's The Avengers, having previously worked on comic book and genre pictures including Daredevil and I, Robot. His other credits include Contact, A Perfect Murder, and 2007's Halloween (ask him to tell you his Rob Zombie stories).
I sat down with both of them to discuss the massive undertaking of bringing the Tony Stark lead MCU to an end.
For more Crafts Behind Avengers: Endgame visit thehmcnetwork.com
With over 100 film credits, two Oscar nominations, two Golden Globe nods, three Grammy Awards, two Emmy awards and countless other film and music awards, Alan Silvestri has created some of the most iconic film scores in movie history.
Silvestri describes his 35-year collaboration with director Robert Zemeckis like a marriage, "You go through a lot, ups and downs. You develop a shorthand and a trust and then 24 films later. It's amazing." Those 24 films include Forrest Gump, Back to the Future trilogy, Who Framed Roger Rabbit, The Polar Express, Castaway and the upcoming adaptation of Roald Dahl's The Witches.
Silvestri's compositions span multiple film genres: From Predator to Overboard, Practical Magic to The Abyss, Tales from the Crypt to The Parent Trap, this genius can never be pigeonholed. Just look at his IMDb credits for proof. No doubt he composed one of your favorite movie scores.
Silvestri's relationship with the MCU began with 2011's Captain America: The First Avenger and continued with his score for 2012's The Avengers, arguably the most memorable theme in the MCU. That theme has woven its way through every film in the universe since. In addition to those two and Avengers: Endgame, Silverstri also scored Avengers: Infinity War.
In one of my all time greatest fangirl moments, I sat down with Alan Silvestri to discuss his work on Avengers: Endgame and managed to get a few other questions in about his impressive decades-long career.
For more Crafts Behind Avengers: Endgame visit thehmcnetwork.com
On Episode 356 of The Harold & Maudecast, co-hosts Sarah Mason and Jake Essoe review Quentin Tarantino's 9th film, ONCE UPON A TIME IN HOLLYWOOD, starring Brad Pitt and Leonardo DiCaprio.
Set in 1969 Hollywood, Rick Dalton (DiCaprio) is an aged-out movie/TV start demoted to playing the Heal in popular TV shows. Cliff Booth (Pitt) is Dalton's longtime stunt double and now driver. If Dalton good just get the attention of his neighbors, Roman Polanski (Rafal Zawierucha), the hottest young director in Hollywood and his actress/ingenue wife Sharon Tate (Margot Robbie), he could get back in the game. The film is centered on Rick and Cliff's stories, separately and together amidst the backdrop of one of the most horrific crimes in American history, the Manson Murders. Tarantino masterfully wades you through the boredom and melancholy that is Dalton's life trying to hold onto his place in Hollywood. All the while, the tension is building as you cannot stop wondering how Tarantino is going to handle what you know has happened in real life. Will he rewrite history as he did in INGLORIOUS BASTARDS? The ending is worth every mundane moment in the film--not to say it is not entertaining. It is purposeful, as Tarantino always is, in its stillness focusing on the story of these two men with the larger point looming about the changing of the guard. It's impossible to discount the parallels to today's Hollywood; the death of the theater experience and actual film in the wake of streaming and digital. It's a grand FU to those trying to dismiss the genius of those who have come before them.
The film is filled with great Quentin-cameos including Michael Madsen, Kurt Russell, Bruce Dern, Al Pacino, Timothy Olyphant, Dakota Fanning, Tim Roth (who's part was cut) and Luke Perry in his last film appearance. Tarantino's longtime Cinematographer, Robert Richardson adds to the beauty and brilliance of this very thoughtful, surprising and thought-provoking film that you will want to see more than once.
SPOILER ALERT! This review and commentary contains them. You've been warned.
For more podcast episodes visit www.thehmcnetwork.com
It's the 50th anniversary of San Diego Comic-Con ! Sarah and Jake go through the biggest announcements from SDCC50 and their favorite moments on Episode 355 of The Harold & Maudecast.
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On Episode 354 of the Harold & Maudecast, Sarah and Jake dissect Stranger Things Season 3 (SPOILERS!).
The Hawkins kids are growing up, much to the dismay of Chief Hopper ( David Harbour) who is struggling to keep Eleven "El" (Mille Bobbie Brown) and Mike (Finn Wolfhard) 3 inches apart. Meanwhile Joyce (Winona Ryder) is busy trying to uncover the secret to the falling refrigerator magnets, Steve (Joe Keery) is scooping ice cream in a sailor uniform with Ethan Hawke and Uma Thurman's daughter Maya Hawke (who plays Robin), Dustin has a girlfriend! Billy's been invaded by the Mindflayer body snatcher, Lucas and Max are on again off again, nobody wants to play D&D with Will anymore, and Russians have landed in Hawkins, Indiana.
We get into it all the awesome details of Season 3 and countdown to Comic-Con's 50th anniversary with some previews of the Hall H panels and ConanCon 2019.
For more episodes visit thehmcnetwork.com
For over 10 years The HMC has been producing popular podcasts, digital content and events. The Harold & Maudecast is the flagship podcast for The HMC Network. Hosted by writer/producer, Sarah Mason and writer/comedian, Jake Essoe, The Harold & Maudecast offers a fully-informed look at your favorite movies, series, comics, conventions, video games and more. They combine critical analysis with passionate fandom. Go beyond the basics and get down and dirty with our in-depth, funny analysis and commentary.
Also on this feed are episodes of our other podcast series, Age of Distraction hosted by screenwriters Warren Lewis and Stephen Godchaux, True Field Test for production professionals, Conversations with Cooler People Than Me interview series, Justice and Doom Movie and Series Reviews.
Don't miss out, Follow us at www.thehmcnetwork.com