Philip Byron used to teach 6 a.m. spin classes. I exercise by perfectly balancing a glass filled with ice while lifting it from the bar.
Curiosity is contagious. As Shields himself put it: “Everybody on this movie learned everything.”
“I continue to feel obligated to capture the truth as much as possible,” he says. “And I’m trying on every film right now to do something new. I just love this business so much that I want to do everything I can in it.”
TOMMY JACKSON’s LAND OF WOLVES comes from an unfiltered voice fueled by ambition.
For writer/director BLAIR MOORE, BADLAND RISING is “a character-driven film with complementary action that suits those characters.”
“We are capable of bringing our dreams into the world…I feel a lot more capable, and I feel that other people who don’t believe that they’re capable are capable.”
“Constraints lead to creativity.” Those constraints ultimately became one of the film’s greatest strengths.
“We always put the characters first,” Tuck explains. “The plot brings our characters together, and we become attached to those people…The plot is secondary.”
“I was googling, ‘What are the most deadly animals on Earth?’” Nunn recalled with a laugh. “Hippos came up as one of the deadliest. It’s wild — they kill upwards of 500 people a year, more than sharks, lions, elephants combined.”
For CARY STACY, the true joy of episodic storytelling isn’t simply the individual moments. It’s the opportunity to develop a long-form sonic identity across an entire season.
Sun, Sweat, and Sunshine Noir: Mark Schwartzbard Finds the Visual Pulse of THE LOWDOWN.
“For me, it was always characters first,” she said. “As long as I stayed true to the drama of the story, then the rest became the stylistic choices — how to create tension, how to create suspense, how to maintain the element of surprise.”
