Making a Creature Feature
1 hr 10 min

Brett and Drew Pierce are the writer/director team behind the new horror film THE WRETCHED, an old school creature feature with more going on under the hood than just scares.

While having a background in Hollywood productions, the brothers still approach their work with a "do-it-yourself" attitude and a complete willingness to roll up their sleeves and get their hands dirty to make their film happen. Their infectious passion has led to them releasing their latest feature under IFC Films and will undoubtedly grant them more great features to come.

The Cinematography Podcast
The Cinematography Podcast
The Cinematography Podcast
Wally Pfister, director/cinematographer PART 2: Inception, Moneyball, The Dark Knight Rises, winning an Oscar, moving into directing, and listener questions
We continue our conversation with Oscar winning cinematographer Wally Pfister- don't miss Part 1. When much of the film world was going digital, Christopher Nolan and Wally began to experiment with large-format IMAX cameras. They had used the IMAX format for some of the visual tricks on The Prestige, and Wally was excited to try shooting more on The Dark Knight and The Dark Knight Rises. Wally did lots of tests with lighting and specially created IMAX lenses, which have a massive frame and shallow depth of field. Just after The Dark Knight, Wally was hired to DP Moneyball with director Bennett Miller. He decided to take a more dramatic and moody approach for lighting the baseball games, rather than using conventional, flat stadium lighting. After doing some tests, he was able to convince Miller that the scenes still looked like a baseball stadium, only better. Once Wally saw the script for Inception, he knew there would be several logistical challenges: shooting hand-held chase scenes in the snow, and of course, the rotating hallway scene. Christopher Nolan still preferred to do most of what was seen on-screen in camera, as a practical effect rather than with computer generated VFX added later. Nolan wanted a James Bond aesthetic for the film, with naturalistic lighting and a loose, hand-held feel. It was Wally and Nolan's sixth film as a team, so it was easy to work together during pre-production, even while working out the most technical scenes. A huge rotating rig was built for the famous gravity-defying hallway scene. Wally installed practical lighting into the rotating cylindrical set, with one camera affixed to the floor, so it does not appear to rotate, and a second camera that rotated with the set. Wally won the Academy Award for Best Cinematography for Inception, after being nominated four times. It was a huge honor, and he was very proud of his work on the film. Once he'd won, it changed his life- so much so, he decided to move into directing. He directed his first feature film, Trancendence, starring Johnny Depp and executive produced by Nolan. It was a huge challenge for him to let go of being in control of the photography and to find the right DP and a good camera operator. Since directing Trancendence, Wally has enjoyed directing commercials. But on set, he'll still act as director of photography, lighting the sets, and directing the actors and the camera operator while watching on the monitors. Find out even more about this episode, with extensive show notes and links: Sponsored by Hot Rod Cameras: Website: Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
1 hr
Bulletproof Screenwriting™ Podcast with Alex Ferrari
Bulletproof Screenwriting™ Podcast with Alex Ferrari
Alex Ferrari
BPS 094: Deconstructing the Emotional Pulse of Your Screenplay with James V. Hart
I'm so excited to bring this episode to the BPS Tribe. Today we have legendary screenwriter James V. Hart. James is the screenwriter behind some of Hollywood's biggest blockbusters like HOOK, directed by Steven Spielberg based on an idea by Hart’s then 6-year-old son, Jake, BRAM STOKER’S DRACULA, directed by Francis Ford Coppola, MUPPET TREASURE ISLAND, directed by Brian Henson, and CONTACT, directed by Robert Zemeckis. MARY SHELLEY’S FRANKENSTEIN, TUCK EVERLASTING,  SAHARA, LARA CROFT: TOMB RAIDER: THE CRADLE OF LIFE, AUGUST RUSH and many more. “No one has a job in our business until you type ‘the end’.” — James V. Hart Dracula has a special place in my heart as it is one of the major influences that made me become a filmmaker. James has served on the faculty of the Columbia University Graduate Film program. Served as mentor and advisor at the Austin Writer’s Ranch, Sundance Film Labs, and the Equinoxe-Europe Writing Workshops for over 20 years in 11 countries. Hart has also conducted the Puglia Experience for writers and producers held in the Puglia region in Italy. During the making of Dracula Francis Ford Coppola called James up and told him he hated everything about the story and the movie they had shot. James sat down with Francis and beat up the film and story. Frustrated that this happened, James set out to develop a tool that could help him map out the screenplay's emotion before they ever start shooting.  The HART CHART was born. Originally launched online at the 2015 Austin Film Festival, James has developed a proven story mapping tool for serious writers working in television, film, novels, plays, and other literary forms, with a guarantee you will never face a blank page again. James and I discuss THE HARTCHART, his journeys in Hollywood, how he became a 20-year overnight success, what it was like working with master filmmakers like Coppola, Speilberg, and Zemeckis, and how he breakdowns a blockbuster story idea. This is one episode for the record books. Enjoy my conversation with James V. Hart.
1 hr 27 min
Stan Prokopenko, Marshall Vandruff and Studio71
Making a Living with Fantasy Art (ft. April Solomon)
Marshall sits down with professional fantasy artist April Solomon. The two discuss how April fell in love with drawing dragons and werewolves, the power of traditional art materials and the techniques she’s learned over the years, art festivals, what her art schedule looks like, and more. If you’re interested in supporting April be sure to check out her patreon - Visit get an entire month of unlimited access for FREE! Call and Ask Your Art Questions: 1-858-609-9453 Show Links (some contain affiliate links): April is on patreon and instagram as Aprilsolomonart and twitter as Aprildragonlady April's Dragon Art - April's Werewolf Art - (for specific art talked about in podcast watch episode at David Solomon - Pageant of the Masters - The Fantastic Art of Frank Frazetta (v. 1) - John Singer Sargent Books - zoo books - D&D Art and Arcana - American Werewolf of London - Graphite Negative Space Art - Myers Briggs Scale Perceivers Judge - Drew Struzan - Painting Marshall bought From April - April’s Influences (Jeff Easley, James Gurney, Donato Giancola, Daniel Dos Santos, Scott Fischer, Gregory Manchess, Rebecca Guay, Boris Vallejo, Frank Frazetta, Norman, Rockwell, Howard Pyle, John Singer Sargent, James Jean, Terryl Whitlatch, Joe Weatherly, Drew Struzan, J.A.W. Cooper, Paul Bonner, John Howe, Sulamith Wülfing, Julie Bell) - CTN Convention - Designer Con - Dragon April sold to Drew & Dylan Struzen - Donato Giancola - Aprils patreon page - Learn to Draw - Marshall Vandruff - April Solomon - Learn more about your ad choices. Visit
1 hr 1 min
A Small Voice: Conversations With Photographers
A Small Voice: Conversations With Photographers
Ben Smith
141 - Jesse Lenz
Jesse Lenz is a self-taught photographer and multidisciplinary artist. As an illustrator he has created images for the most well-respected publications around the world, including TIME, The New York Times Magazine, Newsweek, Rolling Stone, and many others. He is the founder and director of Charcoal Book Club, Charcoal Press,_ _and the Chico Hot Springs Portfolio Review. From 2011-2018 he also co-founded and published The Collective Quarterly and The Coyote Journal. He lives on a farm in rural Ohio. Jesse just released his first photobook, entitled _The Locusts_, published under the imprint that he founded, Charcoal Press. Featuring black and white images that transport the reader to rural Ohio where his children run wild in the fields, build forts in the attic, and fall asleep surrounded by lightsabers and superheroes. The microcosmic worlds of plants, insects, animals, and children create a brooding landscape where dichotomies of nature play out in front of his growing family. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Locusts depicts a world in which beautiful and terrible things will happen, but offers grace and healing within the brokenness and imperfection of life. On episode 141, Jesse discusses, among other things: * His imprint, _Charcoal Press_ * His new book, _The Locusts_ * Learning how to be present * Being the singer in a heavy metal band * His ethos that if you want something you have to build it yourself * Creating community * Never having had a real job * Sustainable subject matter * If you build it, they will come Referenced: * Jonathon Levitt * Andrew Wyeth Website | Instagram | Facebook “The work that you’re making, it really should be the thing that you can’t wait to get out and do. It should be something that never feels like a job… if you do that you’re always gonna have work even if its the same subject matter over and over, because you’re infatuated with it. Infatuation and obsession is the superpower of the human race… and that’s where amazing things happen. Like, the Wright brothers were infatuated with flying and they did something crazy.”
1 hr 14 min
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