Director/Co-Writer BLAIR MOORE Crafts a Character-Driven Thriller with BADLAND RISING – Exclusive Interview
For writer/director BLAIR MOORE, BADLAND RISING is “a character-driven film with complementary action that suits those characters.”
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.”
Jon Keeyes immediately recognized the uniqueness of Domenico Salvaggio’s screenplay, embracing its unusual “weird and wonderful” blend of genres while ensuring that character remained the driving force of SPEED DEMON.
There’s a very fine line between sincerity and absurdity. And in CHAD POWERS, cinematographer MARK SCHWARTZBARD walks it with remarkable precision.
Director Eric Appel didn’t just want THE BREADWINNER to be funny. He wanted the chaos to feel real.
Stunt Coordinator ANDY RUSK talks practical gags, 1970s car-chase DNA, Ethan Hawke’s physical instincts, and why nobody in FX’s Tulsa noir is especially good at violence.
