The American Film Institute has announced its participants for the 2022 Cinematography Intensive for Women presented by Panavision.
The four-day intensive, spearheaded by AFI Conservatory Cinematography Discipline Head Stephen Lighthill, ASC, will begin July 15 on the AFI campus in Los Angeles.
The 16 selected filmmakers are: Anjuli Arreola-Burl, Guisel Contreras, Sarah Crowley-Kelly, Hannah Freeman, Nicky Fuchs, Allyson Hoover, Leeann Leonard, Miriam Ouchi, Angelica Perez-Castro, Aja Pilapil, Rebecca Richard, Susie Shircliff, Olivia Steede, Amber Steele, Olga Wagner and Demi Waldron.
“We are excited to welcome this talented and diverse group of visual storytellers to join this transformative workshop. It is an honor to meet them at this moment in their careers and help them continue to develop their craft. It’s an extraordinary opportunity for all of us,” says Lighthill. “With the AFI Campus located in Los Angeles, we are incredibly fortunate to have access to the best of the best in the cinematography community.
The four-day intensive, spearheaded by AFI Conservatory Cinematography Discipline Head Stephen Lighthill, ASC, will begin July 15 on the AFI campus in Los Angeles.
The 16 selected filmmakers are: Anjuli Arreola-Burl, Guisel Contreras, Sarah Crowley-Kelly, Hannah Freeman, Nicky Fuchs, Allyson Hoover, Leeann Leonard, Miriam Ouchi, Angelica Perez-Castro, Aja Pilapil, Rebecca Richard, Susie Shircliff, Olivia Steede, Amber Steele, Olga Wagner and Demi Waldron.
“We are excited to welcome this talented and diverse group of visual storytellers to join this transformative workshop. It is an honor to meet them at this moment in their careers and help them continue to develop their craft. It’s an extraordinary opportunity for all of us,” says Lighthill. “With the AFI Campus located in Los Angeles, we are incredibly fortunate to have access to the best of the best in the cinematography community.
- 7/13/2022
- by Jazz Tangcay
- Variety Film + TV
To prepare for Executive Producers George Clooney and Grant Heslov’s limited series adaptation of Joesph Heller’s “Catch-22,” costume designer Jenny Eagan did months of research. The idea was to not only know what the men who fought World War II in Europe wore, but to familiarize herself with the smallest details about their daily lives.
“I felt like if I kept it as close to reality as possible and gave them little nuances, then you don’t get lost in the clothes detail,” said Eagan, who appeared at IndieWire’s Consider This Fyc Brunch. “My idea was the comedy in the script would work on its own. If I kept it realistic than all that stuff works better.”
During her research, Eagan was told she could find actual American uniforms in England that were left behind after the war. “Well, that was not the case,” said Eagan. “There...
“I felt like if I kept it as close to reality as possible and gave them little nuances, then you don’t get lost in the clothes detail,” said Eagan, who appeared at IndieWire’s Consider This Fyc Brunch. “My idea was the comedy in the script would work on its own. If I kept it realistic than all that stuff works better.”
During her research, Eagan was told she could find actual American uniforms in England that were left behind after the war. “Well, that was not the case,” said Eagan. “There...
- 6/6/2019
- by Chris O'Falt
- Indiewire
When Chris Kelly and Sarah Schneider created “The Other Two,” a show premised on fictional YouTube pop sensation Chase Dreams’ rise to fame, they needed someone who could help deliver a believable pop song that also fit that narrative demands of their comedy. The duo turned to composer Brett McLaughlin, known professionally as Leland, who in addition to writing funny songs for “Ru Paul’s Drag Race” has written pop songs for Troye Sivan, Selena Gomez, Ariana Grande and more.
“Chris and Sarah came to me and just had great references and great examples of what they wanted,” said McLaughlin, who appeared at IndieWire’s Consider This Fyc Brunch. “They explained to me not only do we want these songs to be funny and catchy, but Chase needs to evolve and grow as an artist throughout the show. So challenge was the songs had to get better.”
The collaboration started early and was extremely hands-on,...
“Chris and Sarah came to me and just had great references and great examples of what they wanted,” said McLaughlin, who appeared at IndieWire’s Consider This Fyc Brunch. “They explained to me not only do we want these songs to be funny and catchy, but Chase needs to evolve and grow as an artist throughout the show. So challenge was the songs had to get better.”
The collaboration started early and was extremely hands-on,...
- 6/4/2019
- by Chris O'Falt
- Indiewire
Often with low-budget filmmaking, the tendency is to reach for cinematography with a realistic look that’s rooted in the use of natural light sources. That description, though, has never applied to indie legend Gregg Araki and it certainly didn’t apply to his first foray into a TV, “Now Apocalypse.” It was something cinematographer Sandra Valde-Hansen discovered working with Araki on two features, “Kaboom” and “White Bird in a Blizzard.”
“I was two years out of AFI and getting the opportunity to work for Gregg opened up my visual world,” said Valde-Hansen, who appear who appeared at IndieWire’s Consider This Fyc Brunch. “He introduced me to a world where, given the limited resources, we can actually play with color and light and still come under budget and limited time frame.”
While Valde-Hansen, who was mentored in more of a doc-realism approach to cinematography, had always used her favorite street photographers for references,...
“I was two years out of AFI and getting the opportunity to work for Gregg opened up my visual world,” said Valde-Hansen, who appear who appeared at IndieWire’s Consider This Fyc Brunch. “He introduced me to a world where, given the limited resources, we can actually play with color and light and still come under budget and limited time frame.”
While Valde-Hansen, who was mentored in more of a doc-realism approach to cinematography, had always used her favorite street photographers for references,...
- 6/3/2019
- by Chris O'Falt
- Indiewire
On May 21, Terry Crews hosted the inaugural IndieWire Consider This Fyc Brunch, where top talents in the TV industry gathered at Liaison in Hollywood to discuss, frankly, how to make really incredible television — and each of the three panels can be watched in their entirety below. Among the highlights:
The Below-the-Line panel was hosted by IndieWire’s Toolkit Editor Chris O’Falt and featured “Yellowstone” composer Brian Tyler, “The Other Two” composer Brett “Leland” McLaughlin, “Catch-22” costume designer Jenny Eagan, “Escape at Dannemora” cinematographer Jessica Lee Gagne, and “Now Apocalypse” cinematographer Sandra Valde-Hansen. How each achieved authenticity on their projects – which spanned from historical recreation to heightened reality – became the theme of the panel.
The Above-the-Line panel was hosted by IndieWire’s Deputy TV Editor and Critic Ben Travers, and featured “Random Acts of Flyness” writer/director Naima Ramos-Chapman, “The Act” creators Michelle Dean and Nick Antosca, “Drunk History” creator Derek Waters,...
The Below-the-Line panel was hosted by IndieWire’s Toolkit Editor Chris O’Falt and featured “Yellowstone” composer Brian Tyler, “The Other Two” composer Brett “Leland” McLaughlin, “Catch-22” costume designer Jenny Eagan, “Escape at Dannemora” cinematographer Jessica Lee Gagne, and “Now Apocalypse” cinematographer Sandra Valde-Hansen. How each achieved authenticity on their projects – which spanned from historical recreation to heightened reality – became the theme of the panel.
The Above-the-Line panel was hosted by IndieWire’s Deputy TV Editor and Critic Ben Travers, and featured “Random Acts of Flyness” writer/director Naima Ramos-Chapman, “The Act” creators Michelle Dean and Nick Antosca, “Drunk History” creator Derek Waters,...
- 5/24/2019
- by Ann Donahue
- Indiewire
IndieWire’s Consider This Fyc Brunch on Tuesday gathered a panel of below-the-line panelists to discuss their craft with IndieWire’s Toolkit Editor Chris O’Falt. Among them were “Yellowstone” composer Brian Tyler, “The Other Two” composer Brett “Leland” McLaughlin, “Catch-22” costume designer Jenny Eagan, “Escape at Dannemora” cinematographer Jessica Lee Gagne, and “Now Apocalypse” cinematographer Sandra Valde-Hansen.
Each of these professionals worked on their projects from beginning to end to control the look, sound, and feel of the shows, which range from historical recreations to heightened reality. Below are highlights from the panel, in which each professional shared one of the ways they surmounted the challenges posed to them. Watch O’Falt’s introduction of the panel below:
”Catch-22” Vintage Costuming
Based on the Joseph Heller novel, the Hulu miniseries from George Clooney and Grant Heslov had to recreate all of the World War II uniforms for the military...
Each of these professionals worked on their projects from beginning to end to control the look, sound, and feel of the shows, which range from historical recreations to heightened reality. Below are highlights from the panel, in which each professional shared one of the ways they surmounted the challenges posed to them. Watch O’Falt’s introduction of the panel below:
”Catch-22” Vintage Costuming
Based on the Joseph Heller novel, the Hulu miniseries from George Clooney and Grant Heslov had to recreate all of the World War II uniforms for the military...
- 5/21/2019
- by Hanh Nguyen
- Indiewire
IndieWire, the definitive outlet for creative independence in film and TV, will launch its first ever Consider This Fyc event on Tuesday, May 21 in Hollywood. The three hour invitation-only brunch will welcome attendees comprised of TV Academy, guild members and select press and will be hosted by “America’s Got Talent” star Terry Crews.
Two additional panelists have been named to the event: Brett “Leland” McLaughlin, the music composer of Comedy Central’s “The Other Two,” and Naima Ramos-Chapman, writer and director of HBO’s “Random Acts of Flyness”.
The brunch feature three panels moderated by IndieWire’s TV Critic Ben Travers, Toolkit Editor Chris O’Falt, and TV Awards Editor Libby Hill, each centered on a separate area of the industry, including above-the-line, below-the-line, a spotlight conversation for Comedy Central’s “The Other Two.”
Among those scheduled to appear on the Spotlight panel are:
Chris Kelly and Sarah Schneider,...
Two additional panelists have been named to the event: Brett “Leland” McLaughlin, the music composer of Comedy Central’s “The Other Two,” and Naima Ramos-Chapman, writer and director of HBO’s “Random Acts of Flyness”.
The brunch feature three panels moderated by IndieWire’s TV Critic Ben Travers, Toolkit Editor Chris O’Falt, and TV Awards Editor Libby Hill, each centered on a separate area of the industry, including above-the-line, below-the-line, a spotlight conversation for Comedy Central’s “The Other Two.”
Among those scheduled to appear on the Spotlight panel are:
Chris Kelly and Sarah Schneider,...
- 5/13/2019
- by Libby Hill
- Indiewire
Based on Laura Kasischke’s novel of the same title, “White Bird” centers on teen Kat (Shailene Woodley), living a life of angst and parental disappointment in late 1980s suburbia. When her unpredictable mother (Eva Green, giving off a major Bette Davis vibe) seemingly vanishes into thin air one day, and her doormat father (Christopher Meloni) is sent into a tailspin of despondency, Kat holds it together as best she can. She begins an affair with the middle-aged, macho detective assigned to her mother’s case, while halfheartedly attempting to stay in a relationship with her dopey boyfriend (Shiloh Fernandez), who seems to have lost sexual interest in her anyway. Because of the film’s enigmatic plot premise, Araki gets to go creepy (working with Dp Sandra Valde-Hansen), with scenes that submerge into Kat’s dream life, where she wanders in a white-out blizzard while catching glimpses of her mother,...
- 10/20/2014
- by Beth Hanna
- Thompson on Hollywood
By Terence Johnson
Managing Editor
There are so many ways that one could start a review of White Bird in a Blizzard that it was tough to figure out where to begin but here’s a shot: this film is an interesting look at depression, teenage angst, and life in the suburbs for about 86 minutes of it’s 91 minute running time that completely comes undone in the final 5 minutes of the film.
Kat (Shailene Woodley) is a girl who is coming into her own. She’s a few months away from college, enjoying a romance with the boy next door (Shiloh Fernandez), and is really beginning to understand her sexuality. But all is not well in paradise, her father is distant and her mother (Eva Green) is a mess, drinking heavily and struggling to hold on. One day her mother vanishes, and Kat and her father try to resume their lives.
Managing Editor
There are so many ways that one could start a review of White Bird in a Blizzard that it was tough to figure out where to begin but here’s a shot: this film is an interesting look at depression, teenage angst, and life in the suburbs for about 86 minutes of it’s 91 minute running time that completely comes undone in the final 5 minutes of the film.
Kat (Shailene Woodley) is a girl who is coming into her own. She’s a few months away from college, enjoying a romance with the boy next door (Shiloh Fernandez), and is really beginning to understand her sexuality. But all is not well in paradise, her father is distant and her mother (Eva Green) is a mess, drinking heavily and struggling to hold on. One day her mother vanishes, and Kat and her father try to resume their lives.
- 1/23/2014
- by Terence Johnson
- Scott Feinberg
Kaboom; Sucker Punch; Faster; Your Highness; The Company Men; Meek's Cutoff
The career of Gregg Araki, one-time enfant terrible of "new queer cinema", has been nothing if not frustrating. Early works such as Totally F***ed Up, Nowhere and The Doom Generation veered wildly between anarchic invention and irritatingly self-conscious craziness, courting controversy for controversy's sake. Things settled down somewhat with 2004's Mysterious Skin, which suggested to many that Araki had finally grown up and reined in his indulgent excesses. Strange then that, months after turning 50, Araki chose to return to his arrested adolescence with a film that turns everything up to 11. Stranger still that Kaboom (2010, Artificial Eye, 15) is so much fun; a surprisingly upbeat and jolly tale of apocalyptic polymorphous perversity which was one of the unexpected treats of last year's Cannes festival.
Filmed in hallucinatory hues, the narrative centres nominally on tousle-haired student Smith (Thomas Dekker), whose sexuality...
The career of Gregg Araki, one-time enfant terrible of "new queer cinema", has been nothing if not frustrating. Early works such as Totally F***ed Up, Nowhere and The Doom Generation veered wildly between anarchic invention and irritatingly self-conscious craziness, courting controversy for controversy's sake. Things settled down somewhat with 2004's Mysterious Skin, which suggested to many that Araki had finally grown up and reined in his indulgent excesses. Strange then that, months after turning 50, Araki chose to return to his arrested adolescence with a film that turns everything up to 11. Stranger still that Kaboom (2010, Artificial Eye, 15) is so much fun; a surprisingly upbeat and jolly tale of apocalyptic polymorphous perversity which was one of the unexpected treats of last year's Cannes festival.
Filmed in hallucinatory hues, the narrative centres nominally on tousle-haired student Smith (Thomas Dekker), whose sexuality...
- 8/6/2011
- by Mark Kermode
- The Guardian - Film News
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