“With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free.
Teenage lovers Brandon (Algee Smith) and Cassidy (Sierra Capri) embark on dangerous but lust-fueled journey in Young. Wild. Free., the feature debut from director Thembi Banks. Cinematographer Cary Lalonde tells Filmmaker about shooting this modern day take on Bonnie and Clyde. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Lalonde: The project was initially shut down after one day of shooting in the early days of Covid. Once it was […]
The post “With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free. first appeared on Filmmaker Magazine.
The post “With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free. first appeared on Filmmaker Magazine.
- 1/30/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
“With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free.
Teenage lovers Brandon (Algee Smith) and Cassidy (Sierra Capri) embark on dangerous but lust-fueled journey in Young. Wild. Free., the feature debut from director Thembi Banks. Cinematographer Cary Lalonde tells Filmmaker about shooting this modern day take on Bonnie and Clyde. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Lalonde: The project was initially shut down after one day of shooting in the early days of Covid. Once it was […]
The post “With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free. first appeared on Filmmaker Magazine.
The post “With Each Interior Location We Had a Distinct Color Palette”: Dp Cary Lalonde on Young. Wild. Free. first appeared on Filmmaker Magazine.
- 1/30/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
When IndieWire conducted its annual survey of all the cameras used by cinematographers at the Sundance Film Festival, a striking trend quickly emerged: Over 75 percent of the DPs with narrative films at the festival utilized either the Arri Alexa Mini or its large format sibling, the Alexa Mini Lf, as their camera of choice. The Mini was introduced in 2015 as a compact version of the Alexa designed primarily for use on drones and gimbals, but its combination of a traditional Alexa sensor with increased mobility eventually led to its use as the A camera on Hollywood studio movies like “A Star is Born” and “Get Out” — and now, it seems, for a majority of cinematographers in the independent realm.
The Mini’s presence in independent film began to be felt at Sundance’s 2017 iteration, where festival favorites “Patti Cake” and “Thoroughbreds,” among others, were captured with the camera. “It was a very ambitious shoot,...
The Mini’s presence in independent film began to be felt at Sundance’s 2017 iteration, where festival favorites “Patti Cake” and “Thoroughbreds,” among others, were captured with the camera. “It was a very ambitious shoot,...
- 1/25/2023
- by Sarah Shachat and Jim Hemphill
- Indiewire
There’s a point when a movie starts dropping too many references to other movies that the enthusiasm gets a little suspicious. In director Thembi L. Banks’ debut feature “Young. Wild. Free.”— the title styled as such for no reason in particular — a mysterious woman with “Euphoria” eye-makeup named Cassidy (Sierra Capri) suddenly starts spouting them with abandon about 30 minutes in. “Did you know this is the diner from ‘Reservoir Dogs?,'” she says while digging into some pancakes at the diner from “Reservoir Dogs.” Over the course of the rest of the film’s running time, she proceeds to name drop “Dazed and Confused,” “Unforgiven,” and “Kill Bill.” Something is up.
And something is indeed up in the drama, which is . As the Letterboxd-friendly dialogue would imply: This is one you’ve seen before, and it’s sloppily executed.
By the time the reveal comes around you’ve been...
And something is indeed up in the drama, which is . As the Letterboxd-friendly dialogue would imply: This is one you’ve seen before, and it’s sloppily executed.
By the time the reveal comes around you’ve been...
- 1/23/2023
- by Esther Zuckerman
- Indiewire
Nothing spoils a family gathering quite like politics, and no movie has captured the way such debates can turn ugly quite like Ike Barinholtz’s “The Oath,” an impressively out-there feature debut in which no-win arguments over a divisive new government policy escalate into a full-blown hostage crisis, turning what should have been a mild-mannered Thanksgiving weekend into a dark and potentially deadly misunderstanding. Part satire, part thriller — and only partway satisfying the potential of a film so boldly overt in its critique of the zeitgeist — “The Oath” kicks off with the all-too-plausible premise that the White House is encouraging all Americans to sign a statement of loyalty to the president, then flashes forward to just days before the deadline.
The administration has given citizens until Black Friday to pledge their allegiance, all but ensuring that families whose political views don’t align perfectly are in for the most awkward Turkey Day of their lives.
The administration has given citizens until Black Friday to pledge their allegiance, all but ensuring that families whose political views don’t align perfectly are in for the most awkward Turkey Day of their lives.
- 9/26/2018
- by Peter Debruge
- Variety Film + TV
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