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Emmy nominee Benjamin Semanoff (‘Ozark’) reveals how he learned to direct for Netflix drama [Exclusive Video Interview]

Emmy nominee Benjamin Semanoff (‘Ozark’) reveals how he learned to direct for Netflix drama [Exclusive Video Interview]
“My goal is for the audience member never ever to think about the construct of what they’re watching,” says Benjamin Semanoff in his exclusive interview with Gold Derby about directing and camera-operating for “Ozark” (watch the video above). He continues, “I want them never to realize that there was a human behind the camera at all. I want them almost to be hypnotized into a fantasy world, so when I watch good camerawork, I often realize that it was good because 10 minutes later, I go, ‘Oh my god, I have totally forgotten that I’m watching a television show’.” Semanoff muses further, “The movement of the camera, which again, is a very conscious, deliberate, thought-out process on set, should only be to support what’s happening or the perspective of the character you’re trying to connect with — and leaving things off camera is super interesting.”

SEEour video interview with “Ozark” editor Cindy Mollo.
See full article at Gold Derby »

7 of the Best One-Shot Action Sequences, From ‘Oldboy’ to ‘The Revenant’

7 of the Best One-Shot Action Sequences, From ‘Oldboy’ to ‘The Revenant’
Most single-shot sequences, aren’t. What you’d swear are single takes are actually seamless edits — but that doesn’t dilute their mind-bending power. Even better: one-take action sequences like the third-act corker in “Atomic Blonde,” which sees Charlize Theron battling scads of baddies in a longform, long-take sequence designed to look like a single shot.

David Deitch’s film is filled with heart-pounding action scenes (Theron cracked multiple teeth while filming the Cold War-set Berlin spy thriller), but it’s that big final battle that action fans will remember. And while “Atomic Blonde” feels fresh, the sequence takes plenty of cues from single-shots that have come before.

Read More‘Atomic Blonde’ Review: Charlize Theron Kicks Ass In Cold War Action-Thriller — SXSW 2017

Fans of both Theron and single-shot sequences can get a small taste of the ass-kicking to come in “Atomic Blonde” (for the really curious, the single-shot segment plays out mostly on the stairs,
See full article at Indiewire »

Cinematographer Maryse Alberti Talks Creed And Women In Film

Creed continues to be a box office success and a favorite with audiences and critics. Globally Ryan Coogler’s film has passed the $100 million mark since its initial opening this fall.

The film reunites Coogler with his Fruitvale Station star Michael B. Jordan as the son of Apollo Creed, and explores a new chapter in the Rocky story, starring Academy Award nominee Sylvester Stallone in his iconic role.

For the director, there was no question that Creed would be set in Philadelphia, where it all began. And for the filmmakers, there was no doubt that principal photography would be accomplished there as well. In order to bridge the two films artistically, Coogler brought together the talented creative team of costume designers Emma Potter (“Song One”) and Antoinette Messam (“Orphan”) and his “Fruitvale Station” team: editors Michael P. Shawver and Claudia Castello; production designer Hannah Beachler; and composer Ludwig Goransson.

See full article at »

"Creed" Single Take Fight Scene Details

There's a ton of great moments in Ryan Coogler's "Rocky" spin-off film "Creed," but the most jaw-dropping takes place right in the middle of the film - the first professional boxing match of Adonis (Michael B. Jordan).

The entire boxing match, with multiple rounds, is seemingly presented in one single take. The camera is right in the fight throughout, ducking and weaving right up close between the two opponents and will then drift to the trainers yelling instructions or Adonis' girlfriend in the crowd yelling support.

You can see just a sample of the sequence below, the entire scene runs for several minutes in the final film.

New details about the scene have been revealed in a new interview that Coogler and Jordan have given to Buzzfeed. The pair reveal that the scene was done in one shot and deliberately so with Coogler purposefully not shooting cutaways. Thirteen takes
See full article at Dark Horizons »

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