Two years ago, I wrapped I Live Here Now, a deeply beautiful and intricate psychological horror film about a woman who confronts her traumas in a strange, derelict hotel.It was my first feature as a director of photography, as well as the first feature for my director, Julie Pacino. In the delirious minutes after wrap, while everyone danced, cried, and popped champagne, I found Julie alone in her office. We shook hands, we looked each other in the eye, and we said to each other, “We never compromised on this film.” And that was true.But of course, we compromised. Every day. We just shot a low-budget, independent feature on 35mm film in just 21 days. Compromise was a constant request.So how can both of these things be true at once?There’s a real obsession with the “uncompromising filmmakers.” Kubrick, Fincher, Welles, Cameron. And I think it’s because there are no excuses in filmmaking. If you didn’t get it right, there’s no way to explain to every audience member that there wasn’t enough time. We ran out of money. It was too hard. So, we revere filmmakers who seem to make no excuses.But none of us are Kubrick. We exist in a new time, with different demands and limitations. So, how do we react dynamically to the ever-changing demands of production? How do we cultivate an environment where, when the shit hits the fan, we can stay true to our collaborators, the story, and give the film what it needs?For me, it...
Published By: NoFilmSchool - Yesterday