Getting a feature into Cannes’ official selection is among the pinnacles of filmmaking achievements for most production companies. Ireland’s Element Pictures clearly isn’t most production companies — this year, it has three.
According to co-founder Ed Guiney, who set up Element with Andrew Lowe in 2001, while his company’s triple-headed festival visit may be “wonderful”, it’s simply down to good fortune and timing. “You know, some years you have nothing for Cannes,” he says, speaking from Element’s breezy, white-walled Dublin headquarters, located above an outdoor clothing shop and a jeweler on the Irish capital’s busy O’Connell Street, where it also runs its distribution arm Volta Pictures and the programming for the popular arthouse Light House Cinema, which it has operated since 2012.
But for anyone who has been keeping an eye on Element over the last decade, this edition of Cannes is merely another unprecedented milestone...
According to co-founder Ed Guiney, who set up Element with Andrew Lowe in 2001, while his company’s triple-headed festival visit may be “wonderful”, it’s simply down to good fortune and timing. “You know, some years you have nothing for Cannes,” he says, speaking from Element’s breezy, white-walled Dublin headquarters, located above an outdoor clothing shop and a jeweler on the Irish capital’s busy O’Connell Street, where it also runs its distribution arm Volta Pictures and the programming for the popular arthouse Light House Cinema, which it has operated since 2012.
But for anyone who has been keeping an eye on Element over the last decade, this edition of Cannes is merely another unprecedented milestone...
- 5/14/2024
- by Alex Ritman
- Variety Film + TV
In filming the surprise hit young love story “Normal People” for the BBC and Hulu, cinematographer Suzie Lavelle departed from the big-scale war dramas and multi-camera TV work she had done previously to create a more intimate, essential Irish-set story, she tells Variety.
Working with directors Hettie Macdonald (“Howards End”) and Lenny Abrahamson (“Room”), while adapting scenes from the source book by Sally Rooney, Lavelle discovered after seeing the subtle power of actors Daisy Edgar-Jones and Paul Mescal that she needed to be light and quick on her feet, she says. Filming shortform episodes seemed a challenging fit for such an intense drama, says the Dp, but she came to realize that this approach actually offered real advantages.
“Normal People” screens in the EnergaCamerimage Film Festival’s First Look – TV Pilots competition in Torun, Poland this week.
Variety‘s interview with Lavelle follows:
So how did you handle creating this...
Working with directors Hettie Macdonald (“Howards End”) and Lenny Abrahamson (“Room”), while adapting scenes from the source book by Sally Rooney, Lavelle discovered after seeing the subtle power of actors Daisy Edgar-Jones and Paul Mescal that she needed to be light and quick on her feet, she says. Filming shortform episodes seemed a challenging fit for such an intense drama, says the Dp, but she came to realize that this approach actually offered real advantages.
“Normal People” screens in the EnergaCamerimage Film Festival’s First Look – TV Pilots competition in Torun, Poland this week.
Variety‘s interview with Lavelle follows:
So how did you handle creating this...
- 11/13/2020
- by Will Tizard
- Variety Film + TV
”I think delusion is your friend as an artist.”
“George Romero was the person that got me into this,” said Blue Valentine director Derek Cianfrance of the horror director who inspired him.
As a child he would watch, and wear out, a VHS of Romero’s 1982 classic Creepshow “every day when I came home from school”.
Cianfrance was taking with fellow filmmaker Lenny Abrahamson as part of TIFF’s Industry conference Dialogues on Saturday. TIFF has helped to launch the international careers of both directors, with Cianfrance’s breakthrough Blue Valentine and Abrahamson’s Oscar-winning Room screening at the festival in 2010 and 2015 respectively.
“George Romero was the person that got me into this,” said Blue Valentine director Derek Cianfrance of the horror director who inspired him.
As a child he would watch, and wear out, a VHS of Romero’s 1982 classic Creepshow “every day when I came home from school”.
Cianfrance was taking with fellow filmmaker Lenny Abrahamson as part of TIFF’s Industry conference Dialogues on Saturday. TIFF has helped to launch the international careers of both directors, with Cianfrance’s breakthrough Blue Valentine and Abrahamson’s Oscar-winning Room screening at the festival in 2010 and 2015 respectively.
- 9/14/2020
- by Geoffrey Macnab
- ScreenDaily
One of the great things about Lenny Abrahamson as a director is that none of his films are ever the same. Even Focus Features chairman Peter Kujawski knows what’s up and described Abrahamson as “a filmmaker who has proven to redefine every genre he takes on.”
His first film, “Adam & Paul,” was a buddy comedy about drug addicts, then his 2014 breakout film “Frank” was about an enigmatic musician who constantly wears a paper-mâché mask over his head, and he followed that with the Oscar-winning kidnapping drama “Room.
Continue reading ‘The Little Stranger’ Trailer: The Director Of ‘Room’ Turns To Supernatural Gothic Horror at The Playlist.
His first film, “Adam & Paul,” was a buddy comedy about drug addicts, then his 2014 breakout film “Frank” was about an enigmatic musician who constantly wears a paper-mâché mask over his head, and he followed that with the Oscar-winning kidnapping drama “Room.
Continue reading ‘The Little Stranger’ Trailer: The Director Of ‘Room’ Turns To Supernatural Gothic Horror at The Playlist.
- 6/11/2018
- by Erica Bahrenburg
- The Playlist
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