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Home 2017-11-19T01:27:15+00:00
14May, 17

WHAT INSPIRES YOU – Part 12 featuring Ben Wheatley

It's been a while since I've stumbled across these funny forays into the Criterion Collection's backroom. I'm not sure how the Criterion content editors select who they do (just like who can guess the criteria for films that get the "Criterion treatment." In this latest installment of the on-going seies, UK director Ben Wheatley gets to dig into the Blu-ray collection of the fabled closet. I haven't seen Wheatley's KILL LIST or HIGH RISE, but our cinematographer Shane Daly continues to champion KILL LIST for its unorthodox structure. It keeps rising up [...]

14May, 17

Behind The Scenes from BLOOM

Directing BLOOM in Atlanta Here are some production stills from the TV pilot sizzle we directed in March 2017. Directing has to be the most intense rush one can get in the entertainment world. You prepare for weeks, if not months, for a few lightning quick days. Days that are filled with joy, exasperation, and revelation. Setting marks during film of BLOOM Copyright © 2017 ShadowBoxer Cinema

18Apr, 17

Story Construction – Pixar’s 22 Writing Laws

Pixar logo We’re not the first to post Pixar’s 22 Writing Laws and we certainly won’t be the last, but bare in mind — it is always good to review story fundamentals to stay sharp. Jazz giant John Coltrane would practice scales EVERY DAY for hours, why? To keep his craft at the utmost sharpness. In the film & TV game, the competition is entirely too fierce for one not to strive for the very best each and every time. And the Pixar Brain Trust has an unbelievably impressive track record [...]

5Mar, 17

Hearing Your Draft Read Aloud

One of the things that weigh on screenwriters is the number of people who actually read your material. Unless it’s getting made, perhaps 30 people TOPS will read the work you’ve spent countless hours on. Such is the vagaries and frustrating aspects of the business. What is doubly irksome is a screenplay isn’t a work that is supposed to be “read”, it’s a document that is designed to be performed and to marshall resources and personnel so it can be filmed. […]

3Jan, 17

Color’s Power and Potential

What makes color have an impact in cinema? How it’s used. Why it’s used. What subtextual value the filmmaker assigns to a given color. What specific color palette is used. Filmmaker’s Color Tools In cinema, color comes in two forms – light and production design (which includes costumes, hair, make-up, props, and set design); top-of-their game filmmakers utilize both to fit the characters and the themes of their stories. There’s a fascinating and informative book called “If It’s Purple, Someone’s Going To Die” by Patti Bellantoni. She dissects how color is employed in [...]

19Dec, 16

FILM OF THE WEEK

SPIELBERG, the HBO documentary.