Kentucker Audley in "Christmas, Again". (Credit: Sean Price Williams.)
Christmas, Again is the first feature film from writer-director Charles Poekel. It follows a heartbroken man, played by Kentucker Audley, in the month leading up to Christmas as he sells trees on the street in Brooklyn, New York. The intimate story was shot by Sean Price Williams, whose previous credits include the indie gem Listen Up Philip.
Christmas, Again premiered earlier this year at the Sundance Film Festival in the low-budget NEXT category.
Dwight Chalmers filming on Route 66. (credit: Angela Carpenter)
Dwight Chalmers is filmmaker and musician who divides his time between professional sound work for movies and television, and small, personal films. His most recent short film is Dim the Lights, an impressionistic collage that serves as a travelogue for a recent trip from the Midwest to the Pacific Ocean along the old Route 66. The film’s audio track includes original music along with sounds and ambiences gathered and edited by Chalmers.
“At first, there were two sides to my love for sound,” says Chalmers. “One was recording bands, and the other was collecting ambiences. For years, I have gone out and recorded interesting sounds – crickets, open air spaces, air conditioners, a soda machine with a strange buzz. Twenty years later, I might use sounds from that library on a project like Dim the Lights.”
Scenes from Umrika. (Photos by Petra Korner)
Cinematographer Petra Korner’s latest feature, Umrika, starts out in a small mountain village in India in the mid-1970s. When Ramakant, a young boy from the village who discovers that his brother – long believed to be in America – has actually gone missing, he begins to invent letters on his behalf to save their mother from heartbreak, while setting out on a journey to find him.
The script has humorous and dramatic aspects, but Korner and director Prashant Nair agreed that it should be photographed with a classic dramatic approach.
Joe Anderson portrays Garrett Tully. (Photo by Rodney Taylor, ASC.)
When Rodney Taylor read the script for Supremacy, he saw a story that could benefit from Super 16 origination and a gritty, handheld aesthetic. The cinematographer mentioned Black Swan, The Hurt Locker and a couple of other recent Super 16 films in his first meeting with Deon Taylor, the basketball player-turned-director. He immediately liked the idea, even though the film had been budgeted for digital video.
Supremacy is the hard-hitting story of a white supremacist, recently paroled, who takes an African-American family hostage. The filmmakers found some Gordon Parks documentary photographs that had an edgy, dimly lit mood with an ominous hint of violence, and used them as a starting point for developing a look for the film.
Photo: Electric City Entertainment
When Anna Boden and Ryan Fleck – the pair that made waves with their first feature Half Nelson in 2006 – approached cinematographer Andrij Parekh with the script for Mississippi Grind, he was instantly drawn to the material. And as it was to be their fourth collaboration, the trio were on the same page when it came to the look.
“They showed me a lot of 1970s films,” says Parekh, an NYU Tisch graduate. “From that, the inspiration for Mississippi Grind was clear. They were attracted to Robert Altman films like California Split, John Schlesinger’s Midnight Cowboy, and Wim Wenders’ Paris, Texas. All films I love. That’s the style and feeling we tried to give to this film – long, slow zooms mixed with handheld.”