Weekly round-up of filmmaking articles

Actors on Representing Deaf Culture on Screen
‘“CODA” is a film about a hearing girl in a deaf family, and filmmaker Sian Heder and the stars of the film hope that this movie opens the door to more representation of deaf culture on screen.

“The real problem we have is that these stories are so infrequently told, that when they are, there is this pressure to be all things to all people and to represent every aspect of that experience. And my hope is by telling this story, more stories are told.”

“I just hope this movie opens the door to representation and that we are able to invite people in to tell these stories so we can have 100 movies about the deaf experience out there.”’

Read the article in full, here.

Pixar’s Not-So-Secret Formula Behind their Award-Winning Storytelling
‘Pixar has perfected the art of cinematic #storytelling to a tee since it released its first feature film ‘Toy Story’ in 1995.

As of today, the studio has produced 23 animated masterpieces that have bagged a total of 485 awards and 1021 nominations.

This was made possible by the talented creatives who have not only revolutionized animation technology but also cracked the formula of effective storytelling that never ceases to leave audiences of all ages in absolute awe time and again.’

Read the article in full, here.

David Fincher Doesn't Believe in Auteur Theory and Has a Good Reason Why
‘Auteur theory contends that filmmaking is a highly centralized process, and true cinematic art can only be achieved if the entire movie and everyone involved in making it closely adhere to the vision and voice of the director, who is seen as the true author of the project.

Naturally, those who view moviemaking as a more collaborative process take issue with the auteur theory. David Fincher is one filmmaker who is known for exerting tight control over every aspect of his movies. Yet, surprisingly, Fincher revealed in a recent interview that he does not believe in “auteur” cinema’​

Read the article in full, here.

Shooting an alternative Dracula after Bela Lugosi had gone to bed

‘They came under the shadow of darkness – quite literally. Just as Dracula star Bela Lugosi was no doubt being tucked up for the night, director George Melford, cast and crew made their way on to the Universal studio lot in 1931 to shoot a Spanish-language version of the Bram Stoker 1897 horror novel, filmed using the same sets and costumes as the much more familiar Tod Browning masterwork.’

Read the article in full, here.

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