We Need to Talk About Oscar

著者: We Need to Talk About Oscar
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  • In We Need to Talk About Oscar you can hear interviews with filmmakers. We are trying to shed some light on a wide range of professions within the industry, so apart from the writers/directors/actors you can also get insights from cinematographers, editors, production designers, composers, and so on. Our aim is to provide an across the board picture on how our favourite films and tv shows come to life.

    © 2024 We Need to Talk About Oscar
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In We Need to Talk About Oscar you can hear interviews with filmmakers. We are trying to shed some light on a wide range of professions within the industry, so apart from the writers/directors/actors you can also get insights from cinematographers, editors, production designers, composers, and so on. Our aim is to provide an across the board picture on how our favourite films and tv shows come to life.

© 2024 We Need to Talk About Oscar
エピソード
  • Ray Fisher goes from stage to screen in 'The Piano Lesson'
    2024/11/22

    After the widely successful stage production of August Wilson’s book of the same name, none other than Malcolm Washington chose The Piano Lesson as his feature directorial debut, produced by his father Denzel Washington and Netflix.
    There are three actors who reprise their roles in the film after portraying them on stage. You might’ve heard of these immensely talented trio of Samuel L. Jackson, John David Washington and last but not least, today’s guest, Ray Fisher!
    Ray was kind enough to join us on the show to talk about the evolution of his relationship with the character of Lymon, how much the collaborators and peers he is surrounded with means to him, and riding the waves of the industry.

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    19 分
  • DoP Benjamin Kračun on concocting ‘The Substance’
    2024/11/08

    Without a doubt one of 2024’s biggest cinematic events is The Substance. Coralie Fargeat’s body horror premiered at this year’s Cannes Film Festival to great critical acclaim and has been gathering more and more attention ever since. We managed to sit down with the film’s cinematographer Benjamin Kračun for an interview.
    If you’ve seen the film, you surely know just how gripping it looks and feels. The Substance has a very distinct visual style, and Ben was kind enough to share some behind the scenes looks on prepping, shooting, and working with Coralie.
    During our discussion we go through how they planned to differentiate the two main characters with lighting and colors, how the story set in LA was actually shot in France, and of course, the extreme body horror elements.

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    27 分
  • When everything falls into its right place, with 'Anora' cinematographer Drew Daniels
    2024/11/01

    Despite Sean Baker’s impressive track record, his seventh feature, Anora, might be what brings him the next level of critical- and, more importantly, commercial- success.
    Baker, who shoots his projects on film, reteamed with DoP Drew Daniels for the second time after Red Rocket. Drew, whose work you might know from projects such as Waves or It Comes at Night (both directed by Trey Edward Shults), was kind enough to join us for an extensive conversation and gave a detailed rundown of the challenges posed by circumstances and other factors while filming Anora, as well as the synergy between him and Sean.

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    50 分

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