{"id":983,"date":"2024-12-03T19:41:33","date_gmt":"2024-12-03T19:41:33","guid":{"rendered":"https:\/\/filmfreeway.com\/articles\/?p=983"},"modified":"2024-12-03T19:41:35","modified_gmt":"2024-12-03T19:41:35","slug":"top-advice-from-this-years-buzziest-filmmakers","status":"publish","type":"post","link":"https:\/\/filmfreeway.com\/articles\/top-advice-from-this-years-buzziest-filmmakers\/","title":{"rendered":"Top Advice From This Year\u2019s Buzziest Filmmakers"},"content":{"rendered":"\n

Creativity doesn\u2019t always come easy. Just ask John Crowley, who nimbly weaves together multiple timelines in the romantic drama \u201cWe Live in Time,\u201d or Robert Eggers, whose \u201cNosferatu\u201d attempts to deliver the most chilling version of Dracula yet. As seasoned as these filmmakers may be, even they\u2019re not immune to challenges that arise during production. Here, these directors\u2014along with Sean Baker (\u201cAnora\u201d) and Jane Schoenbrun (\u201cI Saw the TV Glow\u201d)\u2014share the tips they used to craft some of the year\u2019s best feature films.<\/p>\n\n\n\n

Sean Baker, \u201cAnora\u201d<\/strong><\/h4>\n\n\n\n

Tip: Don\u2019t be afraid to play with color.<\/strong><\/p>\n\n\n\n

\u201cI think that it can actually be very manipulative and, in a way, condescending if you apply this drab look on other people\u2019s lives. \u2018Let\u2019s turn down the saturation, making everything gray and gloomy.\u2019 I think that\u2019s been done, and it\u2019s almost like the history of social realism film for worlds to be portrayed in that way. And we wanted to try something different. We wanted to perhaps see the world through the eyes of the people who live there. And when you look around, even if you might be experiencing hardship, the world isn\u2019t gray around you; colors still pop. The world is still the same.\u201d<\/p>\n\n\n\n

\"\"
Mikey Madison in \u201cAnora\u201d Courtesy NEON<\/figcaption><\/figure>\n\n\n\n

John Crowley, \u201cWe Live in Time\u201d<\/strong><\/h4>\n\n\n\n

Tip: Trust your actors\u2019 instincts\u2014but rein them in when necessary.<\/strong><\/p>\n\n\n\n

\u201cI didn\u2019t know [Florence Pugh] before we had asked her to do the film. I knew her wonderful work, of course, and could see from so many of the performances that she\u2019d given that she\u2019s very comfortable playing women who are very strong and quite forceful. And I thought an interesting acting task for her would be to combine that with the vulnerability that comes into [her character] Almut in the later parts of her journey. And it was interesting, because [for] Florence, some of her instincts were to play the role more emotionally. And without stifling her instinct, I was trying to keep her on a tight rein; I was like, \u2018Hold it back. I\u2019m telling you, hold it back, because you are in different places, and [Andrew Garfield\u2019s character] Tobias is a more emotional creature than you are. And when you crack, the crack will be profound.\u2019 And she did it beautifully, I think.\u201d<\/p>\n\n\n\n

\"(L-R)
(L-R) Andrew Garfield, Florence Pugh, and director John Crowley on the set of \u201cWe Live in a Time\u201d Credit: Peter Mountain<\/figcaption><\/figure>\n\n\n\n

Robert Eggers, \u201cNosferatu\u201d<\/strong><\/h4>\n\n\n\n

Tip: Even the most stunning locations may not be practical to shoot in.<\/strong><\/p>\n\n\n\n

\u201cWe shot in Prague, so everyone thinks we must have taken advantage of the amazing locations of the Czech Republic, but we pretty much built everything. We really rarely [shot anywhere] that wasn\u2019t built, because we have all these long oners, where the camera is moving all around the room and we need to be able to move walls. And you can\u2019t take a practical castle apart when you\u2019re shooting there, obviously. It was a great challenge. I mean, oftentimes in scenes, walls are opening up or collapsing to get the camera where it needs to go. Even at times when we had planned things and measured things, all of a sudden the saws all come out and the carpenters are tearing stuff down to get the shot\u2026. Even the cemetery is a cemetery in Prague, but in order to find a place in that cemetery that had enough space to build that mausoleum, there weren\u2019t a lot of graves around. So we had to bring in 30 headstones to populate it.\u201d<\/p>\n\n\n\n

\"(L-R)
(L-R) Director Robert Eggers, actor Emma Corrin, director of photography Jarin Blaschke, and actors Lily-Rose Depp and Aaron Taylor-Johnson on the set of their film \u201cNosferatu.\u201d Credit: Aidan Monaghan \/ \u00a9 2024 FOCUS FEATURES LLC<\/figcaption><\/figure>\n\n\n\n

Jane Schoenbrun, \u201cI Saw the TV Glow\u201d<\/strong><\/h4>\n\n\n\n

Tip: Create a vision board for your film before you start shooting.<\/strong><\/p>\n\n\n\n

\u201cAbout seven months before production, I drove to Baltimore [to see] my friend Albert Birney, who\u2019s an amazing artist and filmmaker\u2026. I convinced my producers to give me a little money to pay him. We chose 25 images that were going to be in the film that were on the page, and that I had very clear ideas of in mind. And we started by making Photoshop collages, just Google image searches [of], like, \u2018CRT TV\u2019 and \u2018\u201990s basement carpet.\u2019 And then once we had collages that we were happy with, he animated each one, drew it, and then we just sat there and got obsessed about the exact shade of green that the grass should be while that TV burns, or the red glow of the vending machine. It\u2019s pretty crazy to look at some of those drawings. I put them up against the actual frames in the movie because many of them were just these very specific references that were able to grow from my brain to Albert\u2019s pen to the screen.\u201d<\/p>\n\n\n\n

\"(L-R)
(L-R) Jane Schoenbrun, Ian Foreman on the set of \u201cI Saw the TV Glow\u201d Credit: Spencer Pazer\/Courtesy A24<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Sean Baker, Robert Eggers, and more prominent directors share the secrets that made their movies shine.<\/p>\n","protected":false},"author":75,"featured_media":1000,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-983","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nTop Advice From This Year\u2019s Buzziest Filmmakers - FilmFreeway<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmfreeway.com\/articles\/top-advice-from-this-years-buzziest-filmmakers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top Advice From This Year\u2019s Buzziest Filmmakers - 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