January 5, 2021

Best Of 2020 featuring Bradford Young, Kira Kelly, Greig Fraser, Anthony Dod Mantle, Wally Pfister, Brendan Davis, Don Coscarelli, Frederick Wiseman, Iris Ng, Bruce Van Dusen, Julie Taymor and Ron Howard

In our first-ever Best Of compilation episode, we have a dozen clips of listener favorites from 2020 and some of our selects as well.

Cinematographer Bradford Young goes deep into his filmmaking philosophy and influences, such as on Selma; Kira Kelly talks about making the documentary 13th with director Ava DuVernay; Greig Fraser on Lion, Star Wars and The Mandalorian; Anthony Dod Mantle describes exploring New York City for The Undoing; Wally Pfister on his early career working on Roger Corman movies; Brendan Davis on leaving China as the pandemic hit; director Don Coscarelli remembers working with cinematographer John Alcott on The Beastmaster; legendary documentarian Frederick Wiseman talks about his process of assembling his films; cinematographer Iris Ng on making documentaries that are personal narratives; commercial director Bruce Van Dusen tells an anecdote from an Ex-Lax commercial; director Julie Taymor on the visual language of The Glorias; and finally director Ron Howard on directing the documentary Rebuilding Paradise versus his approach to narrative films.

Be sure to check out the full episodes, and let us know what you think!

IT’S A GIVEAWAY! Enter to win Bruce Van Dusen’s book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we’ll choose a winner from the comments. https://www.facebook.com/cinepod

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/bestof2020/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

October 27, 2020

Don Coscarelli, indie horror director and screenwriter of Bubba Ho-tep, Phantasm, The Beastmaster and John Dies at the End

Don Coscarelli is a master of the horror-comedy. He believes that even in the most horrifying times of your life, there are also moments of levity. His films explore the idea that there is another world, it’s terrifying and dangerous, and it’s also hilarious. Don has always preferred to just go ahead and make his own films, and feels you lose a sense of fun and exploration on big studio projects. The great thing about making indie movies is that anyone can pick up a camera and go make a movie over a few days or even a few years. Don shot and directed all three of his early films until The Beastmaster, which was shot by John Alcott, a frequent director of photography for Stanley Kubrick. Don wanted to make an epic “sword and sandal” movie after making his third film, Phantasm. The Beastmaster was still a low budget indie film, but he wanted to use a great cinematographer to give it a real sense of grandeur. Don felt he had to sell his soul in order to get enough money to shoot The Beastmaster, and the producers even threatened to fire him, but fortunately John Alcott stood up for him.

Prior to The Beastmaster, Don directed Phantasm, about a mysterious grave robber called the Tall Man. After the first week of shooting Phantasm, he decided to shut down, choosing to only shoot on the weekends and taking the time during the week to scout, rehearse and rework scenes for about a year. Don thinks it’s helpful for indie filmmakers to pad their schedule with pickup days to give enough time to go back and get better shots, special effects or reshoot scenes if necessary. For his film, John Dies at the End, Don once again decided to take his time and made the movie on an intermittent basis, which luckily worked for the actors, who were all inexperienced, with the exception of Paul Giamatti. Mike Gioulakis was the cinematographer who also acted as the gaffer. Don went on to make the sequels Phantasm II, III and IV before writing and directing Bubba Ho-Tep. Elvis, played by Bruce Campbell, actually lives in a retirement home, and a fellow resident, played by Ossie Davis, have to fight a reanimated mummy who is killing the elderly. Don had a delightful time working with Ossie Davis, especially directing him to realistically fight a rubber mummy. Part of the horror of the movie was making the old folk’s home truly scary- a place where people are abandoned and alone.

Currently, Don has been on a quest to find the original negative of The Beastmaster in order to remaster it, and set up a website for tips on where it might be located. Luckily, a perfect interpositive was found in the vaults of Warner Bros. which will be used for the remastered version.

You can read Don Coscarelli’s book about his experiences called True Indie: Life and Death in Filmmaking.
Find Don Coscarelli:
Facebook: @doncoscarelli
Instagram: @don_coscarelli
Twitter: @DonCoscarelli

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

IT’S A BOOK GIVEAWAY! Enter to win Don Coscarelli’s book, True Indie: Life and Death in Filmmaking. TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the “Don Coscarelli” video version of the podcast we just posted! We will randomly select a winner from the comments. We’re expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep98/

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

September 8, 2019

Michael Gioulakis: on shooting Us, Glass, Split, It Follows, John Dies at the End, working with Jordan Peele, M. Night Shyamalan, David Mitchell and Don Coscarelli

Cinematographer Mike Gioulakis is best known for shooting horror films “Glass,” “Split,” and “Us.” He got a foothold in filmmaking with the cult indy film “John Dies at the End.” With “It Follows,” Mike and director David Mitchell created a retro, timeless look for the movie. He also discusses the meticulous storyboard sessions directors M. Night Shyamalan and Jordan Peele both have for their films.