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In this inspiring episode of Best in Fest, host Leslie LaPage sits down with one of Hungary's most celebrated directors, Krisztina Goda, whose breakout hit Just Sex and Nothing Else catapulted her to fame. Goda shares her journey from the prestigious National Film and Television School to UCLA, her experience navigating Hungary's male-dominated film industry, and the creative challenges of writing and directing both indie features and commercial work. They discuss the evolving role of women in film, the impact of streaming platforms on foreign-language cinema, and what it takes to stay passionate about storytelling in a shifting global market. Whether you're an aspiring filmmaker or a seasoned storyteller, this episode offers a masterclass in resilience, artistic integrity, and international vision.
¡Envíanos tus comentarios por aquí!En este episodio, conversamos con Alexandra Henao, reconocida directora de fotografía venezolana, cuya pasión por la imagen la llevó a abandonar su sueño de ser médica para dedicarse a contar historias con luz y encuadres.Alexandra nos comparte cómo descubrió su vocación trabajando como asistente en un cortometraje, su paso por la National Film and Television School de Londres, y su evolución profesional desde la publicidad hasta su primer largometraje, Puras Joyitas. Hablamos de su resiliencia frente a los desafíos de la industria venezolana, y de la determinación que la ha llevado a abrirse camino en el mundo del cine.Gracias a nuestros patrocinadores :ARRIEFD STUDIOSBAND PRO - ANGENIEUX AMERICASSONYCINESONICACinefotolatino es contenido on demand producido por CINESONICARealización e idea original : Alfredo AltamiranoProducido por Andres Saldaña y Alfredo AltamiranoProducción en línea y Sonido : Isabel AdulfoCámara, Edición y Post producción : Adrian de León y Ricardo GómezPágina web y Redes Sociales : Milton Barrera Redacción de textos de Redes y páSupport the show
“All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour.”Talking About Jesus Christ Superstar with our guest, editor Lucy DonaldsonFilm editor Lucy Donaldson joins Andy Nelson and Pete Wright to discuss Norman Jewison's bold 1973 musical adaptation Jesus Christ Superstar and share insights from her impressive editing career. From working on acclaimed projects like Ma to recent hits like A Haunting in Venice, Donaldson brings her expert perspective to analyzing what makes this unconventional rock opera work so magnificently on screen.In this entertaining and insightful conversation, Donaldson opens up about her journey in the film industry, from her early days at the National Film and Television School to assisting on major productions at Blumhouse before landing breakthrough editing opportunities. The discussion explores the collaborative nature of film editing, working with directors, and how test screenings help shape the final cut. The conversation then dives deep into Jesus Christ Superstar, examining how Jewison's creative vision of hippie performers telling the Biblical story in the Israeli desert creates a uniquely compelling cinematic experience. From the magnetic performances of Ted Neely as Jesus and Carl Anderson as Judas to the bold editing choices and striking cinematography, the group analyzes what makes this controversial film continue to resonate decades later.With its daring artistic choices, memorable musical numbers, and raw emotional power, Jesus Christ Superstar remains a fascinating piece of cinema that challenges conventional storytelling. Through Donaldson's thoughtful analysis and personal connection to the film, we gain new appreciation for this groundbreaking rock opera that shouldn't work on paper but absolutely triumphs on screen. This engaging discussion with a talented editor offers wonderful insights into both the craft of film editing and the enduring impact of bold artistic vision.Film SundriesWatch the conversation on YouTubeLucy's WebsiteWatch this on Apple or Amazon, or find other places at LetterboxdTheatrical trailerOriginal Material Learn how to support our show and The Next Reel's family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel's family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardThe Next Reel Film PodcastSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here's where you can find us around the internet:The WebLetterboxdCheck out poster artwork for movies we've discussed on our Pinterest pagePeteAndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.
AC contributor Tara Jenkins talks with cinematographer Edu Grau, ASC, AEC — who was invited to join the Society in 2021. Grau details his experiences at the Cinema and Audiovisual School of Catalonia and the National Film and Television School in London, the chain of events that lead to his breakthrough work in Tom Ford's A Single Man, overcoming self-doubt, and the importance of being a good person both on and off the set.
Sarah Roberts is a comedian and writer, who is quickly becoming one of comedy's most exciting new voices. Among her award nods are: Komedia New Comedy Award finalist 2023, Leicester Square New Act runner-up 2022, a 99 Club bursary winner and BBC New Comedy Award regional finalist 2024 as well as Soho Theatre Labs Plus alumni 2022. A graduate of the National Film & Television School's Writing & Producing Comedy course, Sarah's graduation project, OnlyFran was featured by Director's Notes as one of 10 essential shorts from NFTS 2022 graduates and was shortlisted for the Funny Women Shorts Award 2022. Her debut stand-up comedy hour, Silkworm, was listed as a stand-out show at Edinburgh Fringe 2024 by Rolling Stone, The Guardian, PinkNews, and The iPaper, and is now going on tour in Spring 2025, including a run at Soho Theatre. Get you tickets here - https://www.sarahjroberts.com/services-7Sarah Roberts is our guest in episode 458 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For tickets for Sarah Roberts' tour, visit - https://www.sarahjroberts.com/services-7Follow Sarah Roberts on Instagram: @sarahroberts_69 . Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.
This is episode 34 and the FINAL EPISODE in our second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad do a round up of their 2024 highlights, lowlights and their favourite episodes from the second season of the podcast, before throwing out some optimistic feels for the year ahead. It's been a tough year, but we are here to bring you some positivity for 2025 with a little help from our friends and guests of past episodes. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the week Marcus: The Telepathy Tapes by Ky Dickens Oz: The Actors Guide to Success by Michaela Longden Our Favourite Episodes of Season 2 Marcus: Episode 1 - How I Directed Baby Reindeer with Weronika Tofilska Episode 17 - Demystifying VFX with Beetlejuice Beetlejuice's Angus Bickerton Episode 8 - Showrunning BBC's Domino Day with Lauren Sequeira Episode 19 - Demystifying the road to BAFTAs & Oscars with Flair PR's Catherine Lyn Scott Episode 31 - How we created EMILIA PÉREZ with Jacques Audiard & Thomas Bidegain Oz: Episode 1 - How I Directed Baby Reindeer with Weronika Tofilska Episode 15 & 16 - The Journey to Directing PRESUMED INNOCENT with Greg Yaitanes Episode 9 - How I Directed HOUSE OF THE DRAGON with Clare Kilner Episode 13 & 14 - The Journey to Directing SUPACELL with Sebastian Thiel Episode 6 - Is Perfectionism Killing Your Creativity? With Dr. Thomas Curran Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 33 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Director Jim O'Hanlon, whose directorial work has been nominated for BAFTAs, Golden Globes and Emmy's. Jim began his career working in continuing Drama on Coronation Street and has since gone on to direct Inside Number 9, 100 Streets with Idris Elba, Netflix's The Punisher, Catastrophe with Sharon Horgan & Rob Delaney and also on Apple TV's hit show Trying. Jim is a fountain of knowledge and in this episode we get right down into his process of what being a working director is to him. This chat includes: -What is directing? -How did you begin your career and enter the industry? -What is tone? -How do you pick projects? -How does he work between mediums and genres? -What is his directing playbook after getting hired? -What is your approach to blocking? -How do you communicate and work with actors of varying levels of experience? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the week Jim: The Holdovers Directed by Alexander Payne - Directors UK Podcast Marcus: Raging Bull Directed by Martin Scorsese Oz: Oz was inspired by a recent conversation we had with students at Oxford University. Credits Music by Oliver Wegmüller Socials Jim O'Hanlon: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 32 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by the Director of the National Film & Television School, Dr. Jon Wardle. In this episode we demystify exactly what the NFTS is to give you all of the information necessary to understand how it can fit into your pathway into the industry. This episode covers: -What is the NFTS? -What is the NFTS' mission statement? -Is the NFTS the only way for someone to get into the industry nowadays? -What are the challenges faced by those attending and graduates? -The responsibility they have in an ever shifting industry. -We discuss listener questions and recent controversies. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the week Jon: The World of Tim Burton at The Design Museum Marcus: Steve McQueen interviewed by Danny Leigh | BFI London Film Festival Screen Talk 2024 Oz: GNX by Kendrick Lamar Credits Music by Oliver Wegmüller Socials Jon Wardle: Twitter (X) The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
Feature: Wallace & Gromit return to the big screen with ‘Vengeance Most Fowl,’ we talk to the directors It’s been 19 years since the intuitive, Wensleydale-loving Wallace and Gromit graced the big screen, with their last feature being The Curse of the Wererabbit; now the duo returns with Vengeance Most Fowl, which also marks the return of an old foe, the silent penguin Feathers McGraw. Having begun as a graduation project at the National Film and Television School, and now being a three-time Academy Award-winning cast of characters, Wallace & Gromit creator Nick Park has teamed up with longtime collaborator Merlin Crossingham to direct this latest feature. So for this week’s FilmWeek feature, Larry sits down with Wallace & Gromit: Vengeance Most Fowl directors Nick Park and Merlin Crossingham to discuss all the work that went into making this stop-motion animated feature a reality. Wallace & Gromit: Vengeance Most Fowl will be released in select theaters on December 18 and streaming on Netflix on January 3.
This is episode 31 in the second season of The Directors Take Podcast. In this week's special episode your hosts Marcus Anthony Thomas and Oz Arshad are joined in conversation by legendary French Director Jacques Audiard (A Prophet, Rust and Bone) and his long-time Writer and Artistic collaborator Thomas Bidegain to discuss their latest project in partnership with Netflix, the musical crime comedy film EMILIA PÉREZ. This live conversation which was conducted as part of a NFTS masterclass covers the following: -What is Directing? -How did they have to adjust their process to create a musical? -How did the casting process shape the journey of creating the story? -What is your relationship with tone and genre during the writing process? -What was the learning curve like in creating the musical sequences? -How did you go about creating the world in a very intentional way to marry the use of a soundstage and real world locations? -Audience questions. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. The NFTS run a range of Masterclasses such as this one you can listen to today, with filmmakers from all across departments and the filmmaking spectrum. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
Through his passion for stop motion and modelling clay, we have come to love his silent (but wise) dog and well-meaning owner.Wallace and Gromit are Nick Park's most famous creations, but what more do we know about this Preston born Oscar winner?He would use his mother's home movie camera to record his early films; he studied animation at the National Film and Television School in Buckinghamshire; and joined Aardman Animations in the mid-80s.Over the last few decades, Nick Park has gained critical acclaim for feature films, Chicken Run and Early Man. So, as we await the latest Wallace and Gromit offering this Christmas, Mark Coles has donned the RIGHT trousers to take a closer look at the multi-award winning animator.Archive Credits Wallace & Gromit: A Grand Day Out directed by Nick Park (Aardman Animations/National Film and Television School) Wallace & Gromit: Vengeance Most Fowl directed by directed by Nick Park and Merlin Crossingham (Aardman Animations) Creature Comforts directed by Nick Park (Aardman Animations) Chicken Run directed by Peter Lord and Nick Park (Aardman Animations/Pathé/DreamWorks Animation) Wallace & Gromit: The Curse of the Were-Rabbit directed by Nick Park and Steve Box (Aardman Animations/DreamWorks Animation) Wallace & Gromit Christmas Jumper Ident (Aardman Animations for the BBC) Merlin Crossingham & Nick Park on WALLACE AND GROMIT: VENGEANCE MOST FOWL at AFI Fest 2024 (American Film Institute) The Bike Ride (Collett Dickenson Pearce)Production Team Presenter: Mark Coles Producers: Bob Howard and Natalie Ktena Editor: Richard Vadon Sound: Gareth Jones Production Co-ordinator: Maria Ogundele
This is episode 30 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by High-End TV Director Marc Jobst for the second part of our conversation. Marc began his career working in continuing drama on Casualty and Eastenders before working his way up to creating exceptional work on Hannibal, Daredevil, The Witcher and most recently as the lead director on the hit Netflix show One Piece. This conversation covers the following: -What's the first thing you do after being hired on a job? -The importance of casting. -Remaining flexible with your plans to adapt to different actors methods. -The use of camera plans. -How schedule minded do you need to be as a director? -How do you honour beloved IP when working in HETV. -What is Marc's approach to action? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Credits Music by Oliver Wegmüller Nugget of the Week Marcus: Script Apart - Andrew Haigh All of us Strangers Oz: Marc Jobst's Blog Marc: This Cultural Life - Interview with Alejandro Iñárritu Socials Marc Jobst: Twitter (X) & Instargam The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 29 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by High-End TV Director Marc Jobst. Marc began his career working in continuing drama on Casualty and Eastenders before working his way up to creating exceptional work on Hannibal, Daredevil, The Witcher and most recently as the lead director on the hit Netflix show One Piece. This conversation covers the following: -How did you become a director? -What does collaboration mean to you? -What were the big obstacles you faced in working in High-End TV? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Credits Music by Oliver Wegmüller Socials Marc Jobst: Twitter (X) & Instargam The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
TAINTED, 11min,. Singapore Directed by Ian Wee In a world driven by corporate greed and unethical genetic experimentation, Darien, the pioneering human clone, finds himself obsolete against a superior 2nd Generation Clone, leading to his and his mentor's targeting. Following his mentor's death, Darien's hidden hybrid nature—combining human and vampire DNA—surfaces during a critical confrontation, granting him unexpected survival. Marked as a “Tainted” failure yet possessing newfound powers, Darien faces an ambiguous future, embodying the narrative's critique of ambition's perils and the poignant fallout of manipulative sciences. http://www.brightvoxelstudios.com/ https://www.instagram.com/film_tainted/ Get to know writer/producer Graham John Lamb: What motivated you to make this film? I was Virtual Production Supervisor on a film in Singapore, when the IMDA (InfoComm Media Development Authority Singapore) announced that they were funding projects in this particular area. My producer, director and director of photography were at the time over in the UK at the National Film and Television School also attending a Virtual Production immersion program aimed at industry professionals to learn about this new way of film making. So excited with this new surge of enthusiasm I asked Jeffrey about joining this content creation initiative and we all got together and created Tainted. What were your initial reactions when watching the audience talking about your film in the feedback video? Honestly I got a little teary, when I was looking at the reviews, I am greatly appreciative that the reviewers talk about the whole film in general from stunts, makeup, sound & music to performance and that really shows that the team was really the best – such a dynamic group all around and I have nothing but high praise for everyone involved. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod
This is episode 28 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Award winning actor, writer and director Charlotte Hamblin. This conversation was recorded at the Norwich Film Festival 2024. In this chat we cover:- The importance of preparation in development Developing an idea Preparation Meets Improvisation: Rehearsals and Blocking Navigating vulnerability. The creative grind of development. Problem-Solving on Set: From Challenges to Creativity Moments of Magic: When Everything Clicks The Development Process: Polishing the Diamond Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the Week Charlotte - Song by Tom Rassmussen - There's a lot to be happy about https://open.spotify.com/track/3dG4ESSkfeytc0DH7cJOsg?si=e71d9e408e604136 Oz is a lyric from the song Eye of the Tiger : https://youtu.be/btPJPFnesV4?si=MokAVPDr1Q1b8Tk3 Credits Music by Oliver Wegmüller Socials Charlotte Hamblin: Profile& Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 27 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad take you behind the scenes of their short films, Space Plug and Opening Up. Recorded in June 2023, the episode gives you their fresh thoughts on the wins and challenges of production one week after they wrapped on set. This conversation covers: - We break down the lessons learned, the challenges faced, and what it takes to bridge the gap between short films and long-form projects. Expect insights on: - Applying what we learned on House of the Dragon to the challenges we faced - Tackling the sci-fi spectacle of Space Plug while balancing visual storytelling and technical hurdles. - How Oz pivoted Opening Up from the north to London. - Last-minute location changes & Police on set. - Managing technical complexity and tight schedules on a limited budget. - Thoughts and conclusions before going into production Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 26 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by BAFTA winning producer Chris Hees, who works across both animation and live-action. This conversation was recorded at the Spirit of Independence Film Festival in Sheffield alongside a bunch of other industry talks, as we aim to demystify producers. In this chat we cover:- -What is producing? -What opportunities did a BAFTA win and an Oscar nomination bring? -How have you sustained yourself whilst pursuing a producing career? -How does he choose the stories that he works on? -What short-sighted decisions do directors make when working with producers? -What are the key challenges in going from shorts to longform? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Credits Music by Oliver Wegmüller Socials Chris Hees: Website & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 25 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad discuss the process of giving and receiving notes as a Writer & Director. We were joined in this conversation by Venetia Hawkes, who is the author of the book We Have Some Notes… The Insider's Guide to Notes, Script Editing and Development. This book is an excellent resource and features chapter interviews from some of the finest Writers & Directors in the UK such as Edgar Wright, Lynne Ramsay, Russell T Davies, Sally Wainwright and many, many more. So as ever we get right into it to help demystify the notes process for you all! This conversation covers: -What inspired her to write this book? -What did she discover about the notes process that went against her expectations? -What are the do's and don'ts when giving and receiving notes? -How should you deliver notes? -What makes a bad note? -How specific should notes be? -How do you navigate communicating and dealing with notes around tone? -When are notes not useful? -The notes process for women and people from a global majority. -How did her research inform her own writing process when putting the book together? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the Week Venetia: Climate spring - Organisation - Climate Spring harnesses the storytelling power of the screen to shift how society perceives and responds to the climate crisis. Oz: We Have Some Notes… by Venetia Hawkes Marcus: Ancient Apocalypse: The Americas Credits Music by Oliver Wegmüller Socials Venetia Hawkes: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 24 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad get candid about directing actors and building trust on set. From early mistakes to big lessons, they share stories about casting, blocking, and working with actors to elevate on-screen moments. Drawing on experiences from their respective works, they break down the craft of guiding performance. This episode covers: First experiences directing actors The role of blocking and “business” on set The impact of blocking and micro-blocking How to collaborate through trust and clarity Lessons learned from working with experienced actor What they learnt from watching other directors Effective casting and rehearsals Adapting to surprises on the day Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the Week Oz: https://www.youtube.com/watch?v=8QU9qZgodWw&ab_channel=FilmCourage Judith Weston Marcus: Life Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Instagram (Oz is off Twitter) If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 23 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Jess Hong a New Zealand actor who since graduating from Drama School landed the lead role in Showrunners David Benioff and D. B. Weiss Game of Thrones follow up, the Multi-Emmy award nominated show 3 BODY PROBLEM, which was also created by Alexander Woo. In this episode we break down her early journey, successes and learnings in order to help demystify what the actor and director relationship can look like. This conversation covers: -What is acting? -How did you get into acting in the first place? -How did you land the job on 3 Body Problem? -How did you begin to prepare for the job of a life time? -How do you embody a character that is distant from yourself? -How did the individual directors approach Director's Rehearsals? -How do you like receiving notes from Directors? -How do you create trust between yourself and collaborators on set? -How do you navigate working on such a large production? -What does the future look like for you? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the Week Jess: Make more good memories with family and friends. That's what people will remember. Marcus: The Hitchcock and Truffaut interviews Oz: The Making of The Girl with the Dragon Tattoo Credits Music by Oliver Wegmüller Socials Jess Hong: Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 22 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Adam Pearson who is an actor and star of the new A24 feature film, A Different Man alongside Sebastian Stan (Captain America: The Winter Soldier), Renate Reinsve (The Worst Person in the World) and is written & directed by Aaron Schimberg. Adam got his first acting break in Jonathan Glazer's Under the Skin starring Scarlett Johansson and he has used his platform to become an award-winning disability rights campaigner, public figure and presenter. This chat covers: -What is acting? -How he ended up working on Under the Skin. -What was his first experience like on a film set? -How did he end up being cast in A Different Man? -What did he learn from his A-List Co-Stars? -How he felt seen by this film's narrative. -How confidence plays a part in acting. -Learning to manage a disability and access in the industry. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nugget of the Week Adam: Four Favourites with Sebastian Stan, Adam Pearson, and Aaron Schimberg (A Different Man) Oz: Nobody wants to buy this Abadoned $10.5million Mansion - Luxury Cars inside!!! Marcus: In Proximity | Jordan Peele and Ryan Coogler on Genre, Fear and Filmmaking Credits Music by Oliver Wegmüller Socials Adam Pearson: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
My guest today is Nainita Desai, the British composer for film, television and video games. Born and raised in London by her Indian parents, she earned a degree in mathematics, then studied sound design at the National Film and Television School. She started her career as a sound designer on the films Little Buddha, Lessons of Darkness and Death Machine, before branching into composition for television, including, among hundreds of others, the Oscar-nominated For Sama, the hit Netflix series American Murder and the BBC drama series Unprecedented. In 2022 she won the Emmy for ‘Outstanding Music Composition' for her work on The Reason I Jump, a film that explores the experiences of non-speaking autistic people around the world. More recently she has entered the world of video games, composing the scores for Telling Lies, Immortality, Call of Duty: Modern Warfare 2, and, most recently, Tales of Kenzera: Zau for which she has been nominated for a World Soundtrack Award. Be attitude for gains. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.
This is episode 21 in our second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Paul Davies, the legendary Sound Designer who is best known for being one of Director Lynne Ramsay's closest collaborators, with their relationship spanning all the way back to her first feature film, Ratcatcher. He is exceptional in his own right however and his unique style has landed him work with directors such as Stephen Frears, Yann Demange, Rose Glass, Steve McQueen and Guillermo Del Toro amongst countless others. Sound is as important if not more so than the image itself, so we are super excited to bring you a conversation with one of the absolute best in the business. This conversation covers: -What is Sound Design? -What was his journey into the industry like? -The importance of mentors? -How did he come to meet Lynne Ramsay and build that relationship? -Why do people keep coming back to him? -How to sync up the process between sound and the edit? -How does he approach character and perspective with sound? -What are the mistakes that directors make when working with sound designers? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Paul's Bio With a background in music recording and composition, Paul Davies graduated from the sound department at the National Film and Television School (UK) in 1993. After graduation Paul worked as a freelance sound record recordist, sound editor and re-recording mixer on a variety of feature, broadcast, and corporate projects. In 1995 Paul joined the sound post production company VideoSonics as a sound editor, rising to become head of the sound editorial department. Whilst with VideoSonics Paul continued to hone his craft on a large range of feature film and television dramas. In 2000 Paul left VideoSonics to become a freelance supervising sound editor and Sound Designer and continues to work in these roles to this day. Notable directors he has with with include Stephen Frears, John Hillcoat, Lynne Ramsay, Guillermo Del Toro, Steve McQueen, Hideo Nakata, Rose Glass, Bart Layton, Anton Corijn, Saul Dibb, Julian Jarrold, Nick Broomfield and Julien Temple amongst many others, on films such as The Queen, Kinky Boots, You Were Never Really HEre, American Animals, Hunger, Mrs HEnderson Presents, The American, The Proposition, We need to Talk about Kevin, Saint Maud and Mogul Mowgli. In addition to his work in sound production, Paul is a regular visiting tutor at the National Film and Television School in the UK The Baltic Film School in Estonia and the IFS in Cologne. Paul has also held Sound Design workshops at the School of sound, BAFTA, CPH Dox Festival-Denmark and The Sound of Story in Brighton UK. Paul is a voting member of BAFTA and AMPAS and a past chair of AMPS the UK's film and television sound craft guild. Paul has received nominations from BAFTA and The Royal Television Society for his sound design work in 2018, and won a BIFA for his Sound Design in You Were Never Really Here. Nugget of the week Paul: Beth Gibbons - Portishead lead singer & the strength of performance. Oz: Godzilla Minus One Marcus: How Liquid Death's Founder Started a $700million Water Brand | Found Effect Credits Music by Oliver Wegmüller Socials Paul Davies: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 20 in our second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Nichola Wong, a Writer and Director who has successfully navigated her way from making short films to directing over 20 episodes of the continuing drama Hollyoaks. The transition from shorts to TV is one of the most challenging leaps to make as a filmmaker and continuing drama's often come with a very systemic approach to delivering a constant stream of episodes for their audiences, so we brought on Nichola to break that process down for you all. This chat covers: -What is directing? -How and why did she want to be a filmmaker? -How did she break into the industry? -Gaining and losing an agent. -How did she get her first break in TV? -What were the challenges she came up against in directing continuing drama? -How have mentors helped her career so far? -How has that helped her career going forward? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nichola's Bio Nichola is an award-winning Writer-Director, Sundance Fellow, BFI NETWORK x BAFTA Crew listed Director, and a graduate of the prestigious NFTS Directors Workshop, supported by Walt Disney. Her 1st TV pilot won All3 Media's New Drama Script award at Edinburgh TV Festival and was one of eight out of 3000+ projects to be selected for the Sundance Episodic Lab. Her short films have screened at film festivals all around the world, as well as on Hulu, US broadcast TV (FX, Freeform) and Film 4/All4. She is currently developing various TV ideas and her 1st feature film with Ardimages. She has been mentored by Hong Khaou, Nick Rowland, Claire Tailyour and Tessa Hoffe. She also directs the 2nd unit on high-end TV shows, as well as directing over 20+ episodes of the continuing drama Hollyoaks. Nugget of the week Nichola: Notes on a Nervous Planet by Matt Hague Oz: Song Exploder Marcus: 6 days to air: The Making of South Park Nichola's Films https://www.youtube.com/watch?v=ssb7wRrdMOc Credits Music by Oliver Wegmüller Socials Nichola Wong: Twitter (X) & Website The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 19 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Catherine Lyn Scott from London Flair PR, who specialise in running BAFTA and Oscar award campaigns for short films. Catherine has helped her clients gain 32 Oscar nominations including 6 wins with films such as An Irish Goodbye (2023), The Long Goodbye (2022) starring Riz Ahmed and The Silent Child (2018). She was also attached to the most recent BAFTA nominated short Yellow and the eventual BAFTA winner Jellyfish and Lobster. She is a master in her field and so we brought her on for a chat to help demystify the process of tackling awards season and to offer you all some very practical tips on how to up your own PR game. This chat includes:- -What is PR? -What attracts her to a project? -What does she look for in the filmmakers she represents? -Is there a formula? -How do you make the most out of a film festival run? -What practical tips can you give to help people with their own campaigns? -What mistakes do filmmakers make? -Do you need social media? -How do you build a personal brand? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nuggets of the week Catherine: The Academy giving its own section to Short Films. Oz: Fasting as a means to appreciate our fortune. Marcus: DUNE part Two Q&A w/ Denis Villeneuve and Steven Spielberg Credits Music by Oliver Wegmüller Socials London Flair PR: Twitter (X), Facebook & Instagram Catherine: Twitter (X), Facebook & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 18 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Andy Harrower who is the CEO of DIRECTORS UK, who help amplify the collective voice of working directors in the UK in tackling the multitude of issues that they might face. The TV & Film industry has undergone massive amounts of change over the last decade and beyond, so we wanted to get Directors UK's perspective on the challenges faced by its 8,000 strong membership of Directors and by the wider industry too. In this chat we cover:- -What is Directors UK and what do you represent? -So are you or are you not a union? -Why was it founded in the first place? -How are residuals collected? -How disruptive has streaming been for working Directors and the industry over the last ten years and what other issues have come to light outside of residuals? -The issue of late scripts and the subsequent mental health impacts. -How sustainable is the UK industry for Directors at the moment? -The lack of joined up thinking around Talent Development in the UK. -Talent Development within Directors UK. -What other issues are in the crosshairs for Directors UK to attack? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nuggets of the week Oz: Murder on the Orient Express - Tour Marcus: Selling Sunset - Season 8 Credits Music by Oliver Wegmüller Socials Directors UK: Twitter (X), Facebook & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 17 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by legendary VFX Supervisor Angus Bickerton, whose career has stretched over 40 years and landed him jobs on films such as Lost in Space, Tim Burton's - Dark Shadows & Batman (1989), Kingsman Gold Circle, Rocketman, HBO's House of the Dragon and most recently on Tim Burtons sequel to his 80s hit BEETLEJUICE BEETLEJUICE starring Michael Keaton. This chat includes: How does a VFX supervisor collaborate with the director to bring a vision to life on film and TV? The role of pre-vis in VFX workflows on projects? How can a VFX supervisor balance creative freedom with tight budget constraints? Working with different creative approaches - Tim Burton, Matthew Vaughn, Miguel Sapochnik. What makes the volume and blue screen techniques different for actors and crew? How do VFX artists adapt to changes on set and in post production? Crafting iconic sequences like the Batwing shot in Batman (1989) and dragon chases in House of the Dragon. The VFX of Beetlejuice Beetlejuice. How can directors be better equipped for VFX on their projects? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nuggets of the week Marcus: Jim Cummings The Beta Test documentary https://x.com/jimmycthatsme/status/1797659509172654512?s=46 Oz: https://merlin.allaboutbirds.org/ Angus: Mach Loop in Wales - Military Aircraft fly low through the valleys, https://www.youtube.com/watch?v=fyszRvOOVmg Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz:Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 16 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by legendary TV Director Greg Yaitanes, whose career has stretched over 30 years and landed him jobs on shows such as House M.D., Grey's Anatomy, Lost, Prison Break, Banshee, House of the Dragon and most recently on Apple TV's most watched Drama of all time, PRESUMED INNOCENT starring Jake Gyllenhaal. In Part 2 we go in-depth to explore his time directing the exceptional cast and crew on Presumed Innocent. This chat includes: -How did you come to direct 5 episodes on Presumed Innocent? -Do you tailor the way you communicate with actors based on their experience? -How did you go about elevating the material from the script? -How did you craft the visual language and did that allow you to be more free with the actors? -How did you go about creating the texture of the world? -How do you navigate Writer, Producer and sometimes Actor notes? -What does he see the future of filmmaking as? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nuggets of the week Greg: What you take for granted, someone else is praying for. Oz: https://medium.com/@gregyaitanes Marcus: The Mythical Production of Prometheus by Frame Voyager Credits Music by Oliver Wegmüller Socials Greg Yaitanes: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is episode 15 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by legendary Emmy winning TV Director Greg Yaitanes, whose career has stretched over 30 years and landed him jobs on shows such as House M.D., Heroes, Grey's Anatomy, Lost, Prison Break, Banshee, House of the Dragon and most recently on Apple TV's most watched Drama of all time, PRESUMED INNOCENT starring Jake Gyllenhaal. In Part 1 we cover his journey of directing over 200 hours of TV and unpick the nuggets of information he gained along the way. This chat includes: -What is directing? -Why did he become a director? -Why does he prefer to work on Season 1 of a show, rather than something already established? -His experience of directing on Lost. -Building a relationship with producers such as JJ.. Abrams. -How he approaches interviews. -What does he look for when hiring directors? -What did he learn whilst directing on House of the Dragon? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Nuggets of the week Greg: What you take for granted, someone else is praying for. Oz: https://medium.com/@gregyaitanes Marcus: The Mythical Production of Prometheus by Frame Voyager Credits Music by Oliver Wegmüller Socials Greg Yaitanes: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is Episode 14 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Sebastian Thiel for the second part of their conversation on how he directed three episodes of the global number one Netflix show, SUPACELL. Sebastian is also a writer, producer and all-round creative, so we brought him on to talk us through his journey toward Directing the phenomenon that is SUPACELL. This conversation covers the following… -The jump to lead directing on Riches. -How did he get the job on SUPACELL? -What was his first day like? -How did you find it working with VFX and Stunts for the first time? -What sequences did he change from Script to Screen? -What is he most proud of looking back? -What does the future look like for him now? Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Biography Sebastian Thiel is a director, writer, producer. Born in Zambia and raised in North-West London, He started his own production company, Upshot Entertainment, at the age of 17 and made his 2014 TV debut on London Live with his documentary Trap Town which he created, wrote and directed. His first drama Just A Couple began life as a YouTube series before being picked up by Big Talk Productions for BBC Three. Sebastian went on to direct the International Emmy-nominated BBC Three comedy Dreaming Whilst Black, and the recent hit ITVX and Amazon Prime drama Riches. Most recently, Sebastian directed Rapman's SUPACELL, the number 1 superhero drama show in London for Netflix. Sebastian continues to produce content through Upshot Entertainment, a subset of which produces professional and dynamic showreels, under Upshot Reels, for some of Britain's greatest talent including Letitia Wright (Black Panther, Small Axe). He is also the founder of Dope Black Art, which is dedicated to championing black culture through visual art. Nuggets of the week OZ:Jean-Michel Basquiat - id https://www.youtube.com/watch?v=8G9pnE0bnfE Marcus: Shiro's Story - https://youtu.be/H_6ZJrg-E3Q?si=dnk8dmSHiTsn8KvE And also Just A Couple https://youtu.be/E_jATst-xtk?si=oz_uFxa5bm2DnMdp Sebastian: UPSHOT Reels Credits Music by Oliver Wegmüller Socials Sebastian: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com .
PODBEAN COPY This is Episode 13 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Sebastian Thiel, who is one of the directors on Netflix's global number one show, SUPACELL. Sebastian is also a writer, producer and all-round creative, so we brought him on to talk us through his journey toward Directing the phenomenon that is SUPACELL. This conversation covers the following… -What is directing? -How did he come into storytelling? -The story of how he made his first projects and web series. -The jump between making films as a self-starter to working within the TV system. -A discussion on development hell and getting the first directing gig. -How to direct comedy. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Biography Sebastian Thiel is a director, writer, producer. Born in Zambia and raised in North-West London, He started his own production company, Upshot Entertainment, at the age of 17 and made his 2014 TV debut on London Live with his documentary Trap Town which he created, wrote and directed. His first drama Just A Couple began life as a YouTube series before being picked up by Big Talk Productions for BBC Three. Sebastian went on to direct the International Emmy-nominated BBC Three comedy Dreaming Whilst Black, and the recent hit ITVX and Amazon Prime drama Riches. Most recently, Sebastian directed Rapman's Supacell, the number 1 superhero drama show in London for Netflix. Sebastian continues to produce content through Upshot Entertainment, a subset of which produces professional and dynamic showreels, under Upshot Reels, for some of Britain's greatest talent including Letitia Wright (Black Panther, Small Axe). He is also the founder of Dope Black Art, which is dedicated to championing black culture through visual art. Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
This is Episode 12 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Brian Gilbert, a BAFTA and Oscar Nominated Director and one of the lead tutors at the National Film and Television School, who specialises in the art of performance and working with actors. This is the second part in our conversation with Brian, as we break down the fundamentals of working with actors and how you shape their performances for screen. PART 2 covers… -How do you create motivated blocking in a scene? -How should you use rehearsal time with actors? -Having helped develop some of the best filmmaking talent in the UK, has he seen any similarities between them? -Brian talks us through how he met Stanley Kubrick on the set of 2001. Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below… http://scriptation.com/thedirectorstake Biography Brian Gilbert started out his career as a child actor, appearing several times on Australian television before earning a scholarship to read English Literature at Oxford University, where he began directing plays. After this he travelled for a while as an actor, before being accepted into the National Film and Television School where his graduation film, THE DEVOTEE won several awards and got him industry attention. From here he went on to make several feature films such as Sharma and Beyond, The Frog Prince, Vice Versa, Not without my Daughter, Tom and Viv which starred Willem Dafoe and Miranda Richardson and picked up two Oscar and two BAFTA nominations before making WILDE. A Biopic on Oscar Wilde starring Stephen Fry and Jude Law amongst others. In 2004 he began working at the National Film and Television School and became a key figure there as it went on to establish itself as one of the top 15 film schools in the world as said by The Hollywood Reporter. As a lead tutor he has overseen the development of some of the UKs most exciting filmmaking talent such as Nick Rowland, Mahalia Belo and Rose Glass, and he specialises in the art of performance on screen. NUGGET Marcus: A Quote from Stanley Kubrick taken from the book The Film Director as Superstar by Joseph Gelmis. ‘A director is a kind of idea and taste machine; a movie is a series of creative and technical decisions, and it's the director's job to make the right decisions as frequently as possible. Shooting a movie is the worst milieu for creative work ever devised by man. It is a noisy, physical apparatus; it is difficult to concentrate - and you have to do it from 8:30 to 6:30, five days a week. It's not an environment an artist would ever choose to work in. The only advantage it has is that you must do it, and you can't procrastinate'. Oz: Shot Designer App Brian: The Homecoming (theatre) directed by Matthew Dunster and starring Jared Harris, Joe Cole and Lisa Diveney. Emily Dickinson Poem - The Brain - is wider than the Sky Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 11 in the second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Brian Gilbert, a BAFTA and Oscar Nominated Director and one of the lead tutors at the National Film and Television School, who specialises in the art of performance and working with actors. Your ability to draw performances from actors is at the heart of the directors' job, so we brought on an absolute expert in Brian Gilbert to break that all down for you all. PART 1 covers… -How did he get into filmmaking as a practice? -How did he get his first break as a working director? -How does he work with high profile actors? -How should you communicate with actors? -How can you change the energy of a performance? Our wonderful sponsor for this episode is The National Film and Television School. Biography Brian Gilbert started out his career as a child actor, appearing several times on Australian television before earning a scholarship to read English Literature at Oxford University, where he began directing plays. After this he travelled for a while as an actor, before being accepted into the National Film and Television School where his graduation film, THE DEVOTEE won several awards and got him industry attention. From here he went on to make several feature films such as Sharma and Beyond, The Frog Prince, Vice Versa, Not without my Daughter, Tom and Viv which starred Willem Dafoe and Miranda Richardson and picked up two Oscar and two BAFTA nominations before making WILDE. A Biopic on Oscar Wilde starring Stephen Fry and Jude Law amongst others. In 2004 he began working at the National Film and Television School and became a key figure there as it went on to establish itself as one of the top 15 film schools in the world as said by The Hollywood Reporter. As a lead tutor he has overseen the development of some of the UKs most exciting filmmaking talent such as Nick Rowland, Mahalia Belo and Rose Glass, and he specialises in the art of performance on screen. Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com
Episode 10 of The Directors Take Podcast is AVAILABLE NOW on all major platforms. In this week's episode your hosts Oz Arshad and Marcus Anthony Thomas are joined by absolutely no-one, as they break down how they became Writer/Directors… With a special emphasis on the writer part. Writing is one of the first skills we learn as humans and writing stories is a craft that can be learnt just like any other… So we will tell you how we did it. This chat covers: -How did we both start writing? -How do you select which ideas to pursue? -How do you get through a first draft? -What are the rules you try to stick to whilst writing, if at all? Our wonderful sponsor for this episode is The National Film and Television School. Nuggets of the week Pandemonium, Inc. (Website/Resource) Scriptnotes (Podcast) The Screenwriting Life (Podcast) The Annual Blacklist (Script Archive) The Annual Oscar Nominee Scripts (Script Archive) BBC Writers Script Library (Script Archive) Lessons from the screenplay (YouTube Channel) Teach yourself screenwriting by Ray Frensham (Book) Into the Woods by John Yorke (Book) Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 9 in the second season of The Directors Take Podcast… and we've hit a very special milestone as this is our 50th Episode overall! To mark this special occasion your hosts Oz Arshad and Marcus Anthony Thomas are joined by one of the directors of HBO's HOUSE OF THE DRAGON and our mentor Clare Kilner. She is an exceptional filmmaker whose craft has allowed her to direct shows such as Pennyworth, The Alienist, Snowpiercer, Gen V and the other recent smash hit show, FALLOUT. Clare is working at the absolute pinnacle of the High-End TV game right now and as ever we break down her journey and process for you all to enjoy. This chat covers… -What is directing? -What made her want to become a storyteller? -How did she learn to work with actors? -How does she break down a script? -How do you enter a show with such a distinct world? -How she plans her shots and blocking from within locations. -Her process in working out blocking with the actors. -What ideas she brings to the table in order to elevate it from the script. -Her approach to creating a coherent visual language. -How she works with writers and execs on set. -Her approach to the editing process. Our wonderful sponsor for this episode is The National Film and Television School. Nuggets of the week Clare: Marina Abramovic - 420 seconds of silence at Glastonbury Oz: Eye Candy - Visual Language library Marcus: The House that Dragons Built - Crafting a Royal Funeral - S2, Ep2 Credits Music by Oliver Wegmüller Socials Clare Kilner: Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 8 in the second season of The Directors Take Podcast. In this week's episode your hosts Oz Arshad and Marcus Anthony Thomas are joined by Writer & Showrunner Lauren Sequeira. A BAFTA nominated writer and a member of the BBC's Hotlist, they wrote on Kiss Me First and seasons 1 & 2 of Gangs of London before Showrunning their very own show, BBC3's original series Domino Day. As ever we break down Lauren's journey and craft to uncover those delicious nuggets of information. This chat covers… -How Marcus and Lauren met… (lol) -Lauren's journey toward becoming a writer -How she got her agent and how they helped shape their career. -What did her first paid writing jobs look like? -Writing on Gangs of London. -How she got her very own show commissioned. -Setting up a series, interviewing directors and building those relationships. -What is her writing process? Our wonderful sponsor for this episode is The National Film and Television School. Bio Lauren Sequeira is a writer hailing from South London, earning her first TV Credit on Kiss Me First, which was a show plucked from the mind of Bryan Elsey, the creator of Skins. From here Lauren created the digital Spin-Off series to BBC's The Dumping Ground, called Sasha's Contact Meeting, which earned her a BAFTA nomination and she was named on the BBC's hotlist for emerging talents tipped as future stars. She also went on to write for Gangs of London, on both Season 1 and 2, before getting her very own show commissioned, the Original Series Domino Day which aired on BBC3 in February of 2024. Domino Day is a show which follows Domino, a powerful young witch who is haunted by her need to feed on the energy of others… And she uses Dating apps to find her new prey. Nuggets of the week Lauren: The sun (not the newspaper). Being outside and enjoying the sun. Oz: The rap beef between Kendrick, Drake and J. Cole. Marcus: Thelma & Louise - Screenplay Credits Music by Oliver Wegmüller Socials Lauren Sequeira: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 7 of our brand new season of The Directors Take Podcast. This week's episode is a conversation with Producer Oliver Kassman from Escape Plan, who have made waves in the genre space in creating films such as SAINT MAUD, OUT OF DARKNESS and the recent feature LOVE LIES BLEEDING starring Kristen Stewart, Katy O'Brian & Ed Harris. Oliver is a champion for first time filmmakers having made the above work with Rose Glass and Andrew Cummings, and there are absolutely many more on the way. In this chat we cover… -What is producing? -His journey into the industry. -The importance of mentors early on in your career. -What does development look like? -How does he choose the filmmakers and ideas to pursue? -How important is it to attach cast to a project? -How do you navigate creative vision through sales and distribution? -What does the Producer/Director relationship look like? -How does he see the future of film? Our wonderful sponsor for this episode is The National Film and Television School. Nuggets of the week Oliver Kassman: Work: What Just Happened? Bitter Hollywood Tales from the Front Line by Art Linson Creative: Orville Peck - Pony (Vinyl) Oz: Anker Powerbank Marcus: Music for K (Polish Jazz Vol. 22) by Tomasz Stanko Quintet Credits Music by Oliver Wegmüller Socials Oliver Kassman: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 6 of our brand new season of The Directors Take Podcast. This week's episode is a conversation with Dr. Thomas Curran, a renowned Psychologist and Associate Professor in the esteemed Department of Psychological and Behavioural Science at the London School of Economics and Author of ‘one of Bloomberg's best books of 2023', The Perfection Trap. In this chat we cover… -What is perfectionism? -Where does perfectionism come from? -How is perfectionism linked to mental health? -How is perfectionism linked to ‘deficit thinking' or ‘imposter syndrome'. -Is procrastination linked to perfectionism? -How do social environments breed perfectionist traits? -How do factors such as race, gender and class play into this? -How can we combat perfectionism? Our wonderful sponsor for this episode is The National Film and Television School. Nuggets of the week Dr. Thomas Curran: Dr. Gabor Maté on Alienation - YouTube Video Oz: Rate my takeaway - YouTube Channel Marcus: Shadow of the Colossus - Playstation Game Credits Music by Oliver Wegmüller Socials Dr. Thomas Curran: Website & Twitter (X) The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 5 of our brand new season of The Directors Take Podcast. This weeks episode is a chat between Marcus and Oz, where they talk about their experience as Director Shadows/Mentees on House of the Dragon for the very first time. -What was the scheme and selection process? -Our first few weeks on the production. -Reading the scripts. -Creating our workflow. -How we helped the production. -How we constructed our learning. Our wonderful sponsor for this episode is The National Film and Television School. About us Marcus and Oz are both described as ‘rising stars' in the film industry and both met whilst shadowing the directors and showrunners on Season 1 of HBO's House of the Dragon for 16 months. Having both seen up close exactly what is required of a director when working at the highest level and understanding the gap between what is taught about filmmaking up to that stage… They created The Directors' Take Podcast to help fill in the gap, so that early-career directors right through to mid-level career professionals can get the most out of themselves and their collaborators. Nuggets of the week Oz: Louaista - YouTube Channel Marcus: Blood, sweat & chrome: The Wild and True Story of Mad Max: Fury Road Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 4 of our brand new season of The Directors Take Podcast. This weeks episode is with the exceptional Costume Designer, Cynthia Lawrence-John. She has worked with some of the biggest brands in the world such as Adidas, Samsung, Amex and with a slew of directors such as Melina Matsoukas (Queen & Slim), Kibwe Tavares (The Kitchen) and Nicholas Winding Refn (Drive). She also recently earned herself a BIFA nomination for her work on the beautiful RomCom RYE LANE and helped to elevate the film's colourful aesthetic. In our chat we cover: -What is Costume Design? -Her journey into the film industry. -What is it about her work that keeps bringing people to her door? -Transitioning from commercials into film. -Storytelling through costume. -What do her conversations with directors look like? -How do you work with other Heads of department to create a unified aesthetic? Our wonderful sponsor for this episode is The National Film and Television School. Nuggets of the week Cynthia: Tony Allen: An Autobiography of the Master Drummer of Afrobeat. Oz: BaByliss Pro Cordless Super Motor Skeleton Trimmer Marcus: The Cinema Cartography - YouTube Channel Credits Music by Oliver Wegmüller Socials Cynthia: Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
This is Episode 3 of our brand new season of The Directors Take Podcast. This weeks episode is a chat with just Marcus and Oz, where they break down exactly how YOU as a director need to be thinking, planning and prepping in order to shape the story that you're working on. This is a deep dive on directing craft and this conversation covers: -How do you find your way into a story? -How do you think about the story as a director? -Crafting characters with actors. -Working with actors on set. -How blocking to tells a story. -Principles for visual storytelling. Our wonderful sponsor for this episode is The National Film and Television School. About us Marcus and Oz are both described as ‘rising stars' in the film industry and both met whilst shadowing the directors and showrunners on Season 1 of HBO's House of the Dragon which they did for 16 months. Having both seen up close exactly what is required of a director when working at the highest level and understanding the gap between what is taught about filmmaking up to that stage… They created The Directors' Take Podcast to help fill in the gap, so that early-career directors right through to mid-level career professionals can get the most out of themselves and their collaborators. Nuggets of the week Oz: How Scorsese Moves the Camera With Purpose in ‘Killers of the Flower Moon' | Anatomy of a Scene Marcus: Denis Villeneuve on Dune: Part Two - Film at Lincoln Center Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
Hello again... This is Episode 2 of our brand new season of The Directors Take Podcast. This weeks episode is our live podcast recording with Writer/Director Rose Glass, which was recorded at our very first live event and was performed immediately after the screening of her latest film LOVE LIES BLEEDING, which stars Kristen Stewart, Katy O'Brian and Ed Harris. This is a SPOILER FILLED conversation on craft and it includes: -How she dealt with the level of expectation after her first film SAINT MAUD was so well received. -What aspect of the shooting process scared her the most. -How she practically creates tone. -How the characters changed from script to screen. -The challenges of working at a higher budget level. -How she crafted a story that follows multiple perspectives. -Emotional resilience. Our wonderful sponsor for this episode is The National Film and Television School. Bio Filming anything and everything from Harry Potter spoofs to fake nature mockumentaries about aliens, Rose was destined to be a director from a young age. Upon leaving home she studied film and video at London College of Communication, UAL - where she directed her first 'proper' shorts - and also gained experience as a runner on professional sets. Eventually she made her way to the NFTS, where she made acclaimed short Room 55 and began working on the idea for SAINT MAUD. In the years following she waitressed and worked as a cinema usher whilst working on the treatment and teamed up with fellow Breakthrough Brit Oliver Kassman. Initially Rose was intimidated by the idea of directing a feature, especially after finding the writing process quite isolating, but once she started, the collaborative nature of the experience made everything a complete joy. Having had such a great time with her team on SAINT MAUD. She has now made her second feature LOVE LIES BLEEDING starring Kristen Stewart, Katy O'Brian and Ed Harris. Teaming up again with producers Oliver Kassman and Andrea Cornwall, and also co-writing the script with fellow NFTS graduate and BABY REINDEER lead director Weronika Tofilska. Nuggets of the week Rose Glass on Directors Now Credits Music by Oliver Wegmüller Socials The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
WE'RE BACK! This is the very first exciting episode of our brand new season of The Directors Take Podcast, In this episode we'll be speaking to Weronika Tofilska who is the lead director (Eps1-4) of the Netflix global phenomenon BABY REINDEER. As ever we break down directing craft to gain a greater understanding of how this smash hit show was created. This conversation includes: -Weronika's journey into filmmaking. -Her experience of film school in Poland and in the UK. -How she navigated the filmmaking wilderness. -How she got her first break as a TV Director. -Her process for interviewing. -How she evolved her process for working in television. -Creating a bespoke visual language for Baby Reindeer. -Working with the show's creator Richard Gadd. -Her directing process. -How she wrote Love Lies Bleeding with Rose Glass. Our wonderful sponsor for this episode is The National Film and Television School. Bio Weronika Tofilska is a London based Writer and Director, a graduate of Krzysztof Kieslowski's Film School in Poland and National Film and Television School in the UK. They've made several successful short films including LAST TRAIN, which won multiple awards at Polish and Internation film festivals, they've made Dark Comedies such as THE PATIENT, SUICIDE IS EASY and horror/comedy PINK and BLUE which won FrightFest Short Film Competition as well as the Channel 4 Horror Short DOORKEEPER. You can watch a lot of these on her website. With the success of her short works, she has begun making her name in TV directing on the Netflix Show IRREGULARS, with Amazon on the show HANNAH, on HBOs His Dark Materials and most recently has directed the first four episodes of the smash hit Netflix Show, BABY REINDEER which is written and created by, as well as starring Richard Gadd. She is in development on her feature project POLYPHONY with Film4 and also co-wrote LOVE LIES BLEEDING Nuggets of the week Weronika: Jerry Seinfeld wisdom. Oz: Go to the lake district. Marcus: Take the time to celebrate your wins as they happen. Credits Music by Oliver Wegmüller Socials Weronika: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
Aleksandra Sykulak, scenarzystka i reżyserka, zdobywczyni nagrody BAFTA za scenariusz do filmu "Crab Day" opowiada o uroczystej gali rozdania brytyjskich Oscarów. Mówi także o pracy dla Netflixa oraz o swoich najnowszych projektach filmowych, w tym o serialu, którego bohaterkami są studentki szkoły filmowej, kręcące artystyczne filmy porno. Ola jest absolwentką prestiżowej The National Film and Television School. Z tej rozmowy dowiecie się między innymi w jaki sposób dostać się do takiej szkoły. Zachęcamy do obejrzenia filmu Aleksandry Sykulak "To wszystko nie takie proste": https://vimeo.com/509996896
Ellen E Jones and Mark Kermode take a deep dive into the cinematic subconscious to explore dreams in film and television. Mark talks to Sandra Hebron, psychotherapist and head of screen arts at the National Film and Television School, about the origins and history of dreams in film.He also speaks to director Bernard Rose, best known for his 1992 film, Candyman. They discuss his debut film, Paperhouse, and how it portrays the blurred lines between reality and dreams.Taking a look at everything from The Sopranos to The Big Lebowski, Ellen investigates some of film and TV's most memorable dream sequences with help from film critic, Anne Billson.Ellen then speaks to independent film director, Tom DeCillo, whose 1995 film, Living in Oblivion sought to subvert the clichés of the cinematic dream sequence.Producer: Queenie Qureshi-Wales A Prospect Street production for BBC Radio 4
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Lesley Manning, the director of 1992's cult classic British horror, Ghostwatch. The highest rated single drama for 48 years on the BBC and named by Channel 4 as the most controversial TV drama, Ghostwatch has had a a resurgence around its 30th anniversary and is now being credited as one of the films to have popularised the use of found footage, comfortably predating The Blair Witch Project. Lesley is also a tutor at the prestigious National Film and Television School, so we talk about her career as well as doing a deep dive on craft. The conversation covers: -What is directing? -Her journey into the industry. -What obstacles did she face in trying to become a director? -How did she get her first break? -A craft deep dive on Ghostwatch and the fallout after release. -Her process of teaching, commonalities in directors. -How she sees the industry now and the challenges that are there. Lesley's Bio Welsh born Lesley Manning started making films at Bristol Art College where she graduated with 1st Class Honours. She trained at the National Film and Television School as a director and graduated to work on films and serials at the BBC. One of which was the cult hit Ghostwatch, the highest rated single drama for 48 years – BBC Screen One film strand and named by Channel 4 as the most controversial TV drama. Lesley directed My Sister Wife BBC Screen Two film strand and won CRE best drama, Best Asian Film Award and was screened at Dinard and Brussels film festivals. 2011 Leila is the first feature Lesley has written as well as directed – and was a finalist at Austin Festival, winning Best Actress at London Independent FF and Audience and Jury award for best narrative at United Festival. In 2013 she completed Honeycomb Lodge – written by Surendra Kochar – a controversial film set in the British/Asian community won Best Film NRI in Delhi International Film festival. Now a tutor at the National Film and Television School, she has helped the careers of directors' such as Lewis Arnold, Nick Rowland, Rose Glass and Mahalia Belo. Nuggets of the week Marcus: The Battersea Poltergeist - Podcast series Oz: Top Boy Director Breaks Down The Final Ever Episode | William Stefan Smith Lesley: Chinese Proverb - 'The person who says it cannot be done, should not interrupt the person doing it' Credits Music by Oliver Wegmüller Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Lesley Manning: Instagram & X (Twitter) If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by the prodigiously gifted editor Mdhamiri Á Nkemi. A BAFTA Breakthrough Brit and Screen Daily Star of Tomorrow, he has a long list of credits which includes The Last Tree by Shola Amoo, Blue Story by Rapman and Ear for Eye by Debbie Tucker Green. With a natural sense of story and rhythm, we do a deep dive with Mdhamiri on the craft of editing. This conversation includes: -His journey into editing. -How he chooses his collaborators. -What are the first conversations with a director like? -The process of assembling a first cut. -How do you navigate notes? -What does he bring to a project? -Can an editor have a style? -What does the future hold? Born in Hammersmith, up until the age of 12 Mdhamiri had his heart set on becoming an author, but on discovering that his friend's new camera had a video mode, that love of storytelling transferred to making films and he began them from there, often playing every role himself. He took part in the inaugural BFI Film Academy scheme for young aspiring filmmakers' and subsequently studied editing at the National Film and Television School. His first credit came on an independent feature called A Moving Image, Directed by Shola Amoo and produced by Rienkje Attoh, which premiered at BFI London Film Festival. This led to bigger standout films such as The Last Tree, again with Shola Amoo, Blue Story which was written and directed by Rapman, and Debbie Tucker Green's Ear for Eye which was recently added to the criterion collection. Nuggets of the week Marcus: How to direct actors - Directing Advice from the Greats Oz: Scriptnotes 403 - How to Write a Movie Mdhamiri: The Servant - Apple TV Credits Music by Oliver Wegmüller Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Mdhamiri Nkemi: Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
Fast & Furious 6 gives us perhaps the most physics-defying hijinks of the franchise. Dom's leap of faith, him taking a bullet, and that epically long runway - there's a lot to discuss. Melissa and Lisa also chat with locations scout Kerry Patten, who worked on the movie. Hear from her about the logistics of filming a car chase in the streets of (not actually) London. Here's an article calculating just how long the runway would have to be. And writer Chris Morgan's response is fun too. Kerry shared some great videos for people who want to learn more about location scouting and management. More about location scouting and tech scouting. Insights from location scout Roger Deakins. A cinematographer's guide to location scouting. Check out the Location Manager's Guild International website. You can take a location management course at the National Film and Television School. Search the database of international filming locations. Follow Melissa @melissatruth Follow Lisa @dustchick Listen to episode 5 here The Facts & The Furious is a podcast rewatch of the entire saga with Dr. Lisa Will (physicist) and Melissa Miller (science writer). We break down each movie of the saga with help from special guest experts. Remember, reality-based physics come and go, but family is forever! Subscribe so you won't miss the rest of our rewatch!
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Ian Sellar, a Director, Screenwriter, Script-Editor and tutor from the National Film and Television School. He has had a key hand in the development of all the major success stories you have seen that have passed through the halls of the NFTS, such as Rose Glass, Nick Rowland, Mahalia Belo and our most recent guest Lewis Arnold to name but a few. Often cited as a genius, we brought him on for a chat to break down the building blocks of cinema so that you can interrogate it more clearly as an art form. This conversation includes: -How breaking down stories informs your preproduction? -We talk through various film exercises. -When is a story ready to be executed? -How do you sustain tone? Ian Sellar is a Scottish director, screenwriter, Script-Editor and tutor of Fiction at the National Film and Television School. He began his career as an assistant to Bill Douglas, after which he went on to directing shorts and studying at NFTS. His first features, 'Venus Peter' and 'Prague', were in official selection at Cannes and went on to be distributed worldwide. He runs feature writing and directing workshops internationally. Nugget of the week Ian: Ahir Shah (Comedian) Oz: DVD Extras (YouTube Channel) Marcus: In the Presence of Absence by Mahmoud Darwish (Book) Credits Music by Oliver Wegmüller Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Ian Sellar, a Director, Screenwriter, Script-Editor and tutor from the National Film and Television School. He has had a key hand in the development of all the major success stories you have seen that have passed through the halls of the NFTS, such as Rose Glass, Nick Rowland, Mahalia Belo and our most recent guest Lewis Arnold to name but a few. Often cited as a genius, we brought him on for a chat to break down the building blocks of cinema so that you can interrogate it more clearly as an art form. This conversation includes: -How did he find himself working in film? -What is his perspective on perspective in film? -Is there a formula to making a film? -Films as information. -How do you choose where to place the camera? Ian Sellar is a Scottish director, screenwriter, Script-Editor and tutor of Fiction at the National Film and Television School. He began his career as an assistant to Bill Douglas, after which he went on to directing shorts and studying at NFTS. His first features, 'Venus Peter' and 'Prague', were in official selection at Cannes and went on to be distributed worldwide. He runs feature writing and directing workshops internationally. Credits Music by Oliver Wegmüller Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
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