Episode 19 - Storyboarding with Studio Ghibli
Join us for a laid back discussion about internationally acclaimed animation director Hayao Miyazaki of Studio Ghibli and how he utilizes storyboards to plan and create his films. One of our regular hosts, Devan Scott, is away this week, so our associate producer and resident Ghibli enthusiast Paige Smith joins Will Ross to explore how Miyazaki works — and how that affects his films.
Join us for a laid back discussion about internationally acclaimed animation director Hayao Miyazaki of Studio Ghibli and how he utilizes storyboards to plan and create his films. One of our regular hosts, Devan Scott, is away this week, so our associate producer and resident Ghibli enthusiast Paige Smith joins Will Ross to explore how Miyazaki works — and how that affects his films.
In this episode, we discuss:
Hayao Miyazaki’s unique animation production model where instead of writing a traditional script, he creates and advocates for detailed storyboards.
A brief overview of Miyazaki’s career, including his varied history of adaptations.
How, because of his insistence of detailed and personally created storyboards, the animation production of his films often starts before he has finished writing the story for his films.
Our thoughts on the endings of Spirited Away and Kiki’s Delivery Service, both results of Miyazaki’s instinctual story development process.
Some stray thoughts on another giant of Japanese animation, Makoto Shinkai, and contrasts between him and Miyazaki.
Some of Paige’s personal experiences with “writing” films by drawing.
Additional Resources:
Films and TV shows discussed during this episode:
Hayao Miyazaki’s Future Boy Conan (1978)
Nausicaä of the Valley of the Wind (1984)
Kiki's Delivery Service (1989)
Princess Mononoke (1997)
Spirited Away (2001)
Howl's Moving Castle (2004)
The Wind Rises (2013)
Mami Sunada’s documentary film The Kingdom of Dreams and Madness (2013)
Makoto Shinkai’s Your Name. (2016)
and George Miller’s Mad Max: Fury Road (2015)
Further Reading
“Learn A Valuable Lesson About Storytelling From Hayao Miyazaki”: Article containing excerpts from the anthology book Starting Point, 1979-1996 in which Miyazaki describes how to develop an idea for a film. We also discuss parts of the book throughout the episode.
Some storyboard images are visible in this book review of The Art of Spirited Away…
…as well as this one of The Art of Nausicaä of the Valley of the Wind.
Storyboards drawn by Makoto Shinkai for the opening sequence of Your Name (2016).
About Paige Smith
Paige Smith is an experimental filmmaker and media artist based out of Vancouver, Canada. She received her BFA in Film from Simon Fraser University (18), and was selected for the Vancouver International Film Festival Mentorship Program (18). Her artwork often uses reflective techniques to investigate viewer perceptions and the possibilities of her mediums. She approaches her work with a queer perspective and methodology. Her work often explores themes of sexism, internalized homophobia, voyeurism, hierarchies of art-making, and viewer interactions.
Smith is currently researching / creating work related to the themes of indigenization, environmentalism, and futurism. She continues to explore the materiality and limits of filmmaking and media art installation.
Her artwork has recently been shown at the Richmond World Festival with Cinevolution’s Digital Carnival (19) and with the Victoria Shorts Film Festival (19). Smith has previously screened at the Moonrise Film Festival where she won the Audience Choice Award for Best Experimental Film (16), the Montreal World Film Festival (15), and at Reel Youth Film Festival with the Vancouver International Film Festival where she won the Audience Choice Award (12). She also has worked in video journalism, and earned the Finalist Nomination for Best Video at the Associated Collegiate Press national student newspaper conference (16).
Episode 18 - Vancouver Cinema and Late Capitalism
How do prolific local filmmaking communities come about… and how do they slip away? The push and pull with larger-scale, Hollywood style means of production and distribution can be demoralizing and confusing, so on this episode we're tackling its causes thoroughly. Curator and film critic Josh Cabrita joins us as we take our own home of Vancouver as a case study for how creative and institutional stagnation happens, and what we can do to counteract it.
How do prolific local filmmaking communities come about… and how do they slip away? The push and pull with larger-scale, Hollywood style means of production and distribution can be demoralizing and confusing, so on this episode we're tackling its causes thoroughly. Curator and film critic Josh Cabrita joins us as we take our own home of Vancouver as a case study for how creative and institutional stagnation happens, and what we can do to counteract it.
In this episode, we discuss:
The hypothetical journey of an aspiring auteur, fresh out of high school.
What is the style of a “Vancouver film” — and how their aim to be different makes them more alike than they might wish.
The ideologies of film schools — just what kind of filmmakers do they want students to be?.
The conflicting ideals and benighted reforms of independent film funding bodies in Canada.
How and why the movies get shown — or not shown — by exhibitors and film festivals.
What it means to work against these powerful forces and complex problems as an individual.
Additional Resources:
Kurt Walker’s S01E03, a hopeful elegy for disbanded communities, is available for free online, and we highly recommend checking it out after giving this episode a listen.
”State of the Art” — Josh Gabert-Doyon’s piece on how the economic incentive structure has whittled away the animation industry.
We mentioned two especially promising local filmmakers, Jessica Johnson and Ryan Ermacora, in the episode — their short film Ocean Falls is likewise available for free online.
We quote extensively from Mark Fisher’s book of essays on pop culture, Ghosts of My Life, particularly the early parts.
About Josh Cabrita
Josh Cabrita is a freelance film critic and programmer from Vancouver. He has written for Cinema Scope, Reverse Shot, and MUBI Notebook.
Episode 17 - Finding Star Wars feat. Drew Stewart
Ever seen the original Star Wars trilogy? Which versions? Multiple new “official” editions of the films have emerged since 1997, with the original films as seen in the 70s and 80s left without any official release. The work of tracking all these changes and preserving the originals has largely fallen to fans, one of whom, Drew Stewart, runs Star Wars Visual Comparisons, a compendium of every visual alteration to the original trilogy. Drew dropped by to talk about how and why all this happened to Star Wars, and how communities rise up when studios fail to protect the legacy of their films.
Ever seen the original Star Wars trilogy? Which versions? Multiple new “official” editions of the films have emerged since 1997, with the original films as seen in the 70s and 80s left without any official release. The work of tracking all these changes and preserving the originals has largely fallen to fans, one of whom, Drew Stewart, runs Star Wars Visual Comparisons, a compendium of every visual alteration to the original trilogy. Drew dropped by to talk about how and why all this happened to Star Wars, and how communities rise up when studios fail to protect the legacy of their films.
In this episode, we discuss:
The history of Star Wars Special Editions, and their changes both big and small.
Theories on possible ulterior motives for each new edition’s changes.
How fan communities develop and take extraordinary measures to preserve films.
The ethics of preservation — who is responsible to preserve which versions of these films?
Lots of nerdy stuff. It’s a Star Wars-focused episode of a granular podcast about film technique and theory, you know exactly what you’re getting into.
Maclunkey!
Additional Resources:
Star Wars Visual Comparisons - Links to Drew’s collection of thousands of visual changes in the original Star Wars trilogy. This stuff can be amazing to sift through, especially if you’re not familiar with the changes. They’re also frequently posted on the Twitter account.
Drew’s article for Wired - More or less a manifesto for releasing the original original trilogy, it also serves as a great (and thorough) primer for people new to the issues of the “Special Editions”.
One of Drew’s many visual comparisons, this one between the original 1977 film and the 2011 blu-ray. Rocks have been put in front of R2D2, on one hand helping him hide from Tusken Raiders but on the other raising the question of how the heck he got in there.
A funny gif that demonstrates how these changes can damage the narrative logic of the films — in the original film, the rebel base is not visible behind the ships as they fly to attack the Death Star. But in the special edition, the Death Star has a clear shot at it, draining the tension from the climactic battle.
The complete contents of Star Wars: Making Magic, a 1996 CD-ROM full of important historical information about the then-in-the-works Special Edition. This video is Drew’s personal preservation effort.
About Drew Stewart
Drew was born into Star Wars; his mother saw Return of the Jedi in theaters while pregnant with him and he has never let go. He is the curator of @StarWarsVisComp where he and his friend Greg Harbin track and comment on every visual change made to the Star Wars Trilogy over the years. He wrote an article on the Star Wars Special Editions that was published on WIRED.com. Drew currently lives in Knoxville, TN, where he works in IT by day but in Star Wars minutiae by night.
Episode 16 - Sounds of Commerce in Early Documentary feat. Tanya Goldman
Join us as we open our ears to the stylized sounds of a bustling commercial existence circa the 1930s — that is, the way they sound in some of the more daring documentaries of the time. Tanya Goldman, a Cinema Studies PHD candidate at NYU, walks us through these films, how their radical soundtracks express their politics, and how the soundscapes of documentaries have shifted in the decades since. All the major films of discussion can be viewed for free online, and are linked in the shownotes below.
An extra special thanks to Tanya for enthusiastically providing the majority of content and links for the shownotes this week.
Join us as we open our ears to the stylized sounds of a bustling commercial existence circa the 1930s — that is, the way they sound in some of the more daring documentaries of the time. Tanya Goldman, a Cinema Studies PHD candidate at NYU, walks us through these films, how their radical soundtracks express their politics, and how the soundscapes of documentaries have shifted in the decades since. All the major films of discussion can be viewed for free online, and are linked in the shownotes below.
An extra special thanks to Tanya for enthusiastically providing the majority of content and links for the shownotes this week.
In this episode, we discuss:
The unique audio depictions of commerce in several films, with audio examples from scenes.
How the wild sound designs of these films belies impressions of the era’s documentaries as stoic and dull.
The different political goals in play for each film.
The production means and methods for each film — how and why each got made the way it did.
Shifting philosophies of documentary ethics and actuality, with comparisons between these films and the fly-on-the-wall documentaries popularized in the 1960s.
Additional Resources:
Full viewing links to the films discussed, along with some readings if you wanna dig deeper:
The City The first of three films we discussed.
Song of Ceylon The second of the three films.
Men & Dust The third film. If you only watch one of the three, it should probably be this one.
To Experience Song of Ceylon An article with deep analysis of the film and useful historical context.
An essay on Men and Dust (pdf) that offers details on its makers and an assessment on how the film stood out from its documentary contemporaries.
An essay on The City (pdf) that makes interesting observations on its prescience and contemporary exhibition.
Some experimental works by the directors of The City:
H20.
Len Lye’s incredible 1937 short Trade Tatoo — we’re big fans of this film and Len Lye in general around here.
About Tanya Goldman
Tanya Goldman is a PhD Candidate in the department of Cinema Studies at New York University. Her research primarily focuses on mid-twentieth century nonfiction film and its history as a political and cultural practice. Her work and reviews have appeared in Cineaste, Cinema Journal, Feminist Media Histories, Film History, Film Quarterly, and Senses of Cinema, and - most recently - in edited volume Screening Race in American Nontheatrical Film (2019). Find her on Twitter @tangoldman.
Episode 15 - Visual Textures with Christopher Blauvelt
What does an image feel like? Is it smooth? Coarse? Soft? Sharp? Distorted? These are decisions that cinematographers, directors, and anyone else involved in the creation of a visual language for a specific film must grapple with. Christopher Blauvelt, the acclaimed cinematographer of such films as First Cow, Emma, Meek’s Cutoff, Certain Women, The Bling Ring, and Mid90s joins us to discuss the textures that define his work and how he collaborated with directors like Kelly Reichardt, Sofia Coppola, Gus Van Sant, and Autumn De Wilde to develop these images.
What does an image feel like? Is it smooth? Coarse? Soft? Sharp? Distorted? These are decisions that cinematographers, directors, and anyone else involved in the creation of a visual language for a specific film must grapple with. Christopher Blauvelt, the acclaimed cinematographer of such films as First Cow, Emma, Meek’s Cutoff, Certain Women, The Bling Ring, and Mid90s joins us to discuss the textures that define his work and how he collaborated with directors like Kelly Reichardt, Sofia Coppola, Gus Van Sant, and Autumn De Wilde to develop these images.
In this episode, we discuss:
The collaborative nature of building a cinematic language: how cinematographers and directors work together to define the look of a film.
Celluloid-based images, digital images, the ways in which they can be used for good (or evil.), and the ways in which the aesthetic line between the two can be blurred.
Filtration: why do we soften our images? What determines the type of filters used?
Naturalism versus theatrical reality.
Authenticity: an aesthetic? An attitude? What is it?
Why choose a steadicam? Why choose a dolly? How do these contribute to the ‘feel’ of our movements?
Day-for-night techniques (see below)
Additional Resources:
Bleach Books, Chris’s series of books bringing together directors, cinematographers, and other artists.
First Cow on Amazon Prime Video
Roads to Nowhere: We highly recommend Seventh Row’s new book on Kelly Reichardt, which includes detailed interviews with Christopher.
Steve Yedlin’s Res Demo: An experiment in rendering various celluloid and digital formats visually indistinguishable.
Lens Filtration Test Shoot: One of many such tests on the internet, this one tests a wide variety of common filters on a single subject.
Meet Your Makers: Christopher Blauvelt: Our podcast doesn’t delve much into the personal histories of our guests, so if you’re interested in learning more about Chris’s background this is a great place to start.
First Cow: Day For Night tests.
Chris was nice enough to send us these before-and-after comparisons of the digital day-for-night effect on First Cow, achieved via a LUT. To the left are how the images appeared using the Arri Alexa’s standard Rec709 LUT; to the right are the same images after the day-for-night colour grade has been applied.
Posted with permission from A24.
About Christopher Blauvelt
Christopher Blauvelt is a third-generation film craftsperson who combines his extensive experience with a fresh creative eye. A protégé of Harris Savides, Chris worked on films for directors Noah Baumbach and David Fincher and operated on Tom Ford’s A Single Man, Spike Jonze’s Where The Wild Things Are, and Gus Van Sant’s Restless. Chris’ work as a cinematographer includes Sofia Coppola’s edgy commentary on spoiled youth, The Bling Ring and The Disappearance of Eleanor Rigby for director Ned Benson. Chris also lensed Kelly Reichardt’s Meek’s Cutoff Night Moves, Certain Women, and First Cow, as well as Autumn De Wilde’s adaptation of Jane Austen’s Emma. He also publishes Bleach Books, an interdisciplinary series film-centric photo books.
Episode 14 - Revisionist Audio
It’s grievance time! Will and Devan take on the world of revisionist audio in film restoration. A niche subject? Probably. Something you should care about? Most definitely!
When you pop in the latest lovingly-restored 4k Blu-Ray release by a boutique label, you might expect that the soundtrack would be given the same faithful treatment as the video. Think again! The world of film restoration is rife with overly filtered audio, anachronistic foley decisions, and questionable surround sound mixes, and Will and Devan are here to explain.
It’s grievance time! Will and Devan take on the world of revisionist audio in film restoration. A niche subject? Probably. Something you should care about? Most definitely!
When you pop in the latest lovingly-restored 4k Blu-Ray release by a boutique label, you might expect that the soundtrack would be given the same faithful treatment as the video. Think again! The world of film restoration is rife with overly filtered audio, anachronistic foley decisions, and questionable surround sound mixes, and Will and Devan are here to explain.
In this episode, we discuss:
Digital noise reduction in audio tracks, and the disastrous results.
Revisionist sound effects; swapped gunshots, a wimpy-sounding shark, and more.
Alternate soundtracks in silent films.
The wacky, troubling world of surround sound upmixes of mono and stereo films.
Additional Resources:
Blah-Ray: A Compendium of Bad Blu-Ray Audio
An analysis of the questionable decisions made in the Jaws surround sound mix.
Alain Resnais’s quote about the dangers of excessive audio denoising:
Sound recording and reproduction techniques have changed a lot over the decades. If one remasters a film so as to tailor it to the standards of 2009, there is a danger of altering drastically the balance of the voices, the sound effects, and the music. By correcting so-called flaws, one can lose the style of a film altogether. It is better to respect the sound characteristics of the time, especially as in most cases they do not disturb the viewer anymore after two minutes. Above all, if one removes the background hiss from the soundtrack, one takes out all the harmonic frequencies of the actors' voices in the process. Be it in the low, the medium, or the treble range, the voices become neutral, flat, mannered; the acting loses a great part of its dramatic value. When you see an aggressively remastered film by Sacha Guitry, you have the feeling the voice you hear is not Guitry's; you believe that this is a dubbed film and the dialogue is being read or recited. In most cases I know, the remastering is so brutal that the performances are deprived of their appeal. Every time I have had the opportunity to compare an unrestored and a restored soundtrack in a recording studio, the loss was obvious. The same goes for the music: if one corrects a distorted spot, the music is likely to sound dead. As a director, I do not object to a carefully considered, non-mechanical remastering of my films, but I am keen on giving the viewer the choice between the two soundtracks. As a viewer, I always prefer what may be called the original version.
Films Discussed:
The Third Man (1949),
The Good, The Bad, and the Ugly (1966)
The Passion of Joan of Arc (1928)
Jaws (1975)
Napoleon (1927)
Episode 13 - Documentary Writing feat. Alison Duke
What does it mean to write for documentaries? Alison Duke of Oya Media Group takes us through her experience co-writing the television documentary Mr. Jane and Finch — a process that netted her the Canadian Screen Award for Best Documentary Writing.
We went in-depth into her commitment to honoring the truth of her subjects, the challenges of structuring a story as it unfolds in front of you, and some of the ethical quandaries that come with non-fiction filmmaking.
What does it mean to write for documentaries? Alison Duke of Oya Media Group takes us through her experience co-writing and producing the television documentary Mr. Jane and Finch, directed by Ngardy Conteh George — a process that netted her the Canadian Screen Award for Best Documentary Writing.
We went in-depth into her commitment to honoring the truth of her subjects, the challenges of structuring a story as it unfolds in front of you, and some of the ethical quandaries that come with non-fiction filmmaking.
Our Canadian audience can check out Mr. Jane and Finch for free over at CBC Gems.
In this episode, we discuss:
Story structure in documentary films: what story do we tell, and how to we order our telling of it?
Generating suspense in documentaries.
Present-tense and past-tense storytelling.
The serendipitous nature of arriving at a subject when shooting a documentary.
Ethics of representation in documentaries.
Additional Resources:
Home Feeling: A Struggle for Community by Jennifer Hodge & Roger McTair
About Alison Duke
Co-founder of Oya Media Group, Alison Duke (aka “Golde”) is a storyteller in every sense of the word. Duke is known for telling compelling stories that illuminate history, document the present, and push the culture forward. As an artistic activist, award-winning filmmaker and passionate producer, Alison committed to boldly telling stories of resistance and change.
Episode 12 - "Fourteen" and Discontinuous Production feat. Dan Sallitt
There are a million ways to make an independent movie, and today Dan Sallitt came on the podcast to tell us about the one he chose to make Fourteen. The film's story spans many years, and was shot in several separate periods in 2018 and 2019 — yet it was precisely planned and plotted from the start.
That topic winds up leading us to personal discussions about how our own personalities, anxieties, and circumstances dictate how we make movies and how we compare ourselves to other filmmakers. Dan winds up offering a pretty candid portrait of his feelings and personal philosophies, a great example of the personal side of production methods.
There are a million ways to make an independent movie, and today Dan Sallitt came on the podcast to tell us about the one he chose to make Fourteen. The film's story spans many years, and was shot in several separate periods in 2018 and 2019 — yet it was precisely planned and plotted from the start.
That topic winds up leading us to personal discussions about how our own personalities, anxieties, and circumstances dictate how we make movies and how we compare ourselves to other filmmakers. Dan winds up offering a pretty candid portrait of his feelings and personal philosophies, a great example of the personal side of production methods.
Full Shownotes Coming Soon
Episode 11 - Prince of Darkness feat. Mike Thorn
Author and critic Mike Thorn swings by to talk about Prince of Darkness, John Carpenter's 1987 horror film, and how it both expresses and interrogates the subject of epistemophobia — the fear of knowledge.
We get into how the film withholds or ambiguates information for the audience, the film's balance between pessimism and intellectual humility, and its place in Carpenter's "Apocalypse Cycle" of movies.
Author and critic Mike Thorn swings by to talk about Prince of Darkness, John Carpenter's 1987 horror film, and how it both expresses and interrogates the subject of epistemophobia — the fear of knowledge. It’s a great movie to go into knowing very little, so be aware that we spoil the entire plot in this episode.
We get into how the film withholds or ambiguates information for the audience, the film's balance between pessimism and intellectual humility, and its place in Carpenter's "Apocalypse Cycle" of movies.
In this episode, we discuss:
The ideas behind “epistemophobia” and the fallibility of knowledge systems.
The different approaches to knowledge, disorder, and pessimism in fellow apocalypse cycle films The Thing and In the Mouth of Madness.
How different spaces in the film represent and problematize different systems of knowledge.
The role of sound in the film — how it precedes, obscures, or confuses events.
The parallels and differences between the apocalypse cycle and the classic Italian horror films of Dario Argento and Lucio Fulci.
Additional resources:
Mike Thorn’s thesis deals with the subjects of this podcast and more in much, much greater detail, and is well worth your time. You can read that here.
We touch briefly on Michel Chion’s theories of acousmatic sound in films — Chion’s writing on the subject doesn’t seem to be freely available online, but this idea and others are discussed in his excellent collection of essays The Voice in Cinema.
Mike Thorn
Mike Thorn is the author of Darkest Hours and Dreams of Lake Drukka & Exhumation. His debut novel Shelter for the Damned will be released through JournalStone in 2021.
His fiction has appeared in numerous magazines, anthologies and podcasts, including Dark Moon Digest, The NoSleep Podcast, DarkFuse, Unnerving Magazine, Turn to Ash and Tales to Terrify. His film criticism has been published in MUBI Notebook, The Film Stage, The Seventh Row, Bright Lights Film Journal and Vague Visages.
He completed his M.A. with a major in English literature at the University of Calgary, where he wrote a thesis on epistemophobia in John Carpenter’s Prince of Darkness.
Episode 10 - Pre-Code Montage feat. Peter Labuza
USC Postdoctoral Fellow and Cinephiliacs host Peter Labuza joins us to dissect the history of montage. Specifically, we discuss the use of montages in Pre-Code Hollywood cinema.
In the brief period between the introduction of synchronized sound and the enforcement of the Motion Picture Production [AKA Hays] Code, artists like Slavko Vorkapich pioneered the use of montages: sequences which condense time and space to convey story beats, emotional states, and break the rules of conventional realism.
University of Southern California Postdoctoral Fellow and Cinephiliacs host Peter Labuza joins us to dissect the history of montage. Specifically, we discuss the use of montages in Pre-Code Hollywood cinema.
In the brief period between the introduction of synchronized sound and the enforcement of the Motion Picture Production [AKA Hays] Code, artists like Slavko Vorkapich pioneered the use of montages: sequences which condense time and space to convey story beats, emotional states, and break the rules of conventional realism.
In this episode, we discuss:
The development of montage in Hollywood cinema between 1928 and 1935.
Theories of montage - Soviet montage, classical hollywood realism, and other frameworks.
Slavko Vorkapich and his montage-based experiments throughout the 1920s and 1930s.
The transition from silent to cinema and sound cinema, and the implications on visual language.
The political dimensions that ran parallel to the development of montage.
Art, commerce, and the ways in which Hollywood films function as both business and expression.
Additional resources:
In this episode, we discuss a wide variety of Slavko Vorkapić’s work as an editor. Here are two short films he helmed:
The Life and Death of 9413: A Hollywood Extra (1928)
Millions of Us (1935)
You can read some writing on these two films by Tanya Goldman and Spencer Nachman at the orphan film symposium.
And here’s two sequences that he was commissioned to do within feature films directed by others:
Mr. Smith Does to Washington (1939) [Excerpt]
Crime Without Passion (1934) [Excerpt]
And two other pre-code works that he was not involved with that are featured in our discussion:
So This is Harris! (1933)
Love Me Tonight (1932) [Excerpt]
Peter Labuza
Peter Labuza is a Postdoctoral Fellow at the University of Southern California, where he also earned his PhD in Cinema and Media Studies. His research explores the legal, financial, and political history of creative industries. His dissertation, “When A Handshake Meant Something: Lawyers, Deal Making, and the Emergence of New Hollywood” traces how new legal professionals and deal makers reshaped creative labor and financial management in Hollywood after World War II. He is currently working on a history of antitrust lawyers and radicalism in postwar America.
Labuza has received numerous fellowships and grants supporting his research from an array of archives and disciplines, including in legal, business, and Jewish history. He has published in The Velvet Light Trap, Mediascape, Film Quarterly, Sight & Sound, and The Los Angeles Review of Books, and serves as assistant book review editor for the Journal of Cinema and Media Studies. He has published film criticism in Variety, The Village Voice, and Filmmaker Magazine, and hosts The Cinephiliacs podcast. Previously, Labuza earned both his BA and MA in Film Studies from Columbia University.
FILM FORMALLY
Film Formally gets granular about how movies work by choosing a technique or trait and studying it through its best examples. Every Tuesday, Independent filmmakers Devan Scott and Willa Ross leverage years of watching and making movies to bring you spirited and approachable conversations, offering brick-by-brick analysis and discussions about how movies work.
Associate Producer: Paige Smith
Current season edited by Amanda Avery
Got an idea? A guest you’d like to hear from? Give us a shout at filmformally@gmail.com.
