Robert Eggers is such a dominant force in the indie film world that it’s easy to forget “The Northman” is only his third movie. Eggers made his feature debut with 2015’s “The Witch,” but he started directing films seven years earlier when he adapted Edgar Allan Poe’s “The Tell-Tale Heart” as a short in 2008.
The film helped Eggers develop the period horror aesthetic that he perfected in “The Witch,” and established his relationships with several key collaborators. Now, cinephiles can watch the short film for the first time, as Eggers has chosen to show the film exclusively on IndieWire.
“I am pleased to share ‘The Tell-Tale Heart.’ It is an uneven film, but my first film that I was proud of making,” Eggers wrote in a statement. “It is also my first collaboration with my Dp Jarin Blaschke and editor Lousie Ford, and we have worked together ever since,...
The film helped Eggers develop the period horror aesthetic that he perfected in “The Witch,” and established his relationships with several key collaborators. Now, cinephiles can watch the short film for the first time, as Eggers has chosen to show the film exclusively on IndieWire.
“I am pleased to share ‘The Tell-Tale Heart.’ It is an uneven film, but my first film that I was proud of making,” Eggers wrote in a statement. “It is also my first collaboration with my Dp Jarin Blaschke and editor Lousie Ford, and we have worked together ever since,...
- 4/28/2022
- by Christian Zilko
- Indiewire
For sound designer Damian Volpe, The Lighthouse was impossible to resist. Centered on two 19th century lighthouse keepers driven to madness, while stranded on a remote Atlantic isle, the latest from Volpe’s frequent collaborator Robert Eggers was simply rife with sonic opportunity.
Working with a limited set of elements—including roaring winds, crashing waves, and chugging industrial machinery—Volpe’s goal was to refine a sonic palette for the psychological horror film that felt immersive, gritty and handmade. “[Eggers] really loves that,” Volpe says, “especially for something like this, [where] the conceit is a bit like, ‘Hey, we found this weird, old film on a shelf. What is this thing?’ So, I put as much analog goodness as I could get into the sound design, via lots of field recording, and then some trickery in the mix, as well.”
Deadline: Tell us about your first exposure to Robert Eggers’ The Lighthouse.
Working with a limited set of elements—including roaring winds, crashing waves, and chugging industrial machinery—Volpe’s goal was to refine a sonic palette for the psychological horror film that felt immersive, gritty and handmade. “[Eggers] really loves that,” Volpe says, “especially for something like this, [where] the conceit is a bit like, ‘Hey, we found this weird, old film on a shelf. What is this thing?’ So, I put as much analog goodness as I could get into the sound design, via lots of field recording, and then some trickery in the mix, as well.”
Deadline: Tell us about your first exposure to Robert Eggers’ The Lighthouse.
- 12/16/2019
- by Matt Grobar
- Deadline Film + TV
The Lighthouse seeps into your bones with the chill of the sea wind. Stunningly directed by Robert Eggers from a script he wrote with his brother, Max, and shot in black and white in the boxy aspect ratio common in the silent era, The Lighthouse is set in the 1890s on a deserted island off the coast of Maine. It’s there, with the lighthouse looming above them, that extraordinary actors Willem Dafoe and Robert Pattinson duel with each other — as well as a raging storm, demon rum, masturbatory fantasies and mystical portents (a seagull,...
- 10/15/2019
- by Peter Travers
- Rollingstone.com
The sound in “Dunkirk” is crucial for this almost-silent, radically structured action movie. And “War for the Planet of the Apes” is also relatively dialogue light–except when Woody Harrelson’s Kurtz-like Colonel and Andy Serkis as Caesar explode in a dramatic face-off. And each time Ryan Gosling’s K in “Blade Runner,” Gal Gadot’s Wonder Woman or Ansel Elgort’s Baby Driver enters a new landscape, the sound design clues us into what’s going on.
Here are our current predictions in alphabetical order. No movie will be deemed a frontrunner until I see it.
Frontrunners:
Will Files (“War for the Planet of the Apes”)
Richard King (“Dunkirk”)
Mark Mangini (“Blade Runner 2049”)
James Mather (“Wonder Woman”)
Julian Slater (“Baby Driver”)
Contenders:
Craig Berkey (“Darkest Hour”)
Richard Hymns (“The Post”)
Eric A. Norris, Steven Ticknor (“Spider-Man: Homecoming”)
Warren Shaw (“Beauty and the Beast”)
Donald Sylvester (“Logan”)
Matthew Wood...
Here are our current predictions in alphabetical order. No movie will be deemed a frontrunner until I see it.
Frontrunners:
Will Files (“War for the Planet of the Apes”)
Richard King (“Dunkirk”)
Mark Mangini (“Blade Runner 2049”)
James Mather (“Wonder Woman”)
Julian Slater (“Baby Driver”)
Contenders:
Craig Berkey (“Darkest Hour”)
Richard Hymns (“The Post”)
Eric A. Norris, Steven Ticknor (“Spider-Man: Homecoming”)
Warren Shaw (“Beauty and the Beast”)
Donald Sylvester (“Logan”)
Matthew Wood...
- 11/19/2017
- by Anne Thompson
- Indiewire
The Sound branch of the Academy often favors music-driven movies when it comes to the Mixing Oscar nominations, so Edgar Wright’s propulsive “Baby Driver” has a shot here, along with the elaborately layered sound mixes on “War for the Planet of the Apes,” “Wonder Woman,” “Dunkirk” and “Blade Runner 2049.”
Frontrunners:
Ron Bartlett, Doug Hemphill, Mac Ruth (“Blade Runner 2049”)
Chris Burdon, Gilbert Lake, Chris Munro (“Wonder Woman”)
Tim Cavagin, Julian Slater, Mary H. Ellis, James Peterson (“Baby Driver”)
Will Files, Douglas Murray, Andy Nelson, Chris Duesterdiek (“War for the Planet of the Apes”)
Gregg Landaker, Gary Rizzo, Mark Weingarten (“Dunkirk”)
Contenders:
Craig Berkey, John Casali (“Darkest Hour”)
David Giammarco, Paul Massey, Paul Ledford (“Logan”)
Christian P. Minkler, Michael Minkler, John Casali (“Beauty and the Beast”)
Kevin O’Connell, Tony Lamberti, Felipe Borrero (“Spider-Man: Homecoming”)
David Parker, Michael Semanick, Tim White (“Star Wars: The Last Jedi”)
Gary Rydstrom (“The Post”)
Long Shots:
Ron Bartlett,...
Frontrunners:
Ron Bartlett, Doug Hemphill, Mac Ruth (“Blade Runner 2049”)
Chris Burdon, Gilbert Lake, Chris Munro (“Wonder Woman”)
Tim Cavagin, Julian Slater, Mary H. Ellis, James Peterson (“Baby Driver”)
Will Files, Douglas Murray, Andy Nelson, Chris Duesterdiek (“War for the Planet of the Apes”)
Gregg Landaker, Gary Rizzo, Mark Weingarten (“Dunkirk”)
Contenders:
Craig Berkey, John Casali (“Darkest Hour”)
David Giammarco, Paul Massey, Paul Ledford (“Logan”)
Christian P. Minkler, Michael Minkler, John Casali (“Beauty and the Beast”)
Kevin O’Connell, Tony Lamberti, Felipe Borrero (“Spider-Man: Homecoming”)
David Parker, Michael Semanick, Tim White (“Star Wars: The Last Jedi”)
Gary Rydstrom (“The Post”)
Long Shots:
Ron Bartlett,...
- 11/19/2017
- by Anne Thompson
- Indiewire
It's all about the sound! The Motion Picture Sound Editors unveiled the winners of the 2016 Golden Reel Awards and "Mad Max: Fury Road" and "The Revenant" tied for the Best Sound Editing: Feature English Language . FX/Foley. For my Oscar predictions, I chose "Mad Max" for both Sound Editing and Mixing! See my full Oscar predictions here.
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
Here's the full list of winners of the Golden Reel Awards:
Feature Film
Best Sound Editing in Feature Film: Music Score
Star Wars: The Force Awakens (Walt Disney Studios Motion Pictures)
Supervising Music Editor: Ramiro Belgardt
Music Editor: Paul Apelgren
Best Sound Editing in Feature Film: Music in a Musical
Love & Mercy (Roadside Attractions)
Music Editor: Nicholas Renbeck
Best Sound Editing: Feature English Language . Dialogue/Adr
Bridge Of Spies (Walt Disney Studios Motion Pictures)
Supervising Sound Editors: Richard Hymns, Gary Rydstrom
Supervising Dialogue Editor: Brian Chumney
Supervising Adr Editor: Steve Slanec
Best Sound...
- 2/28/2016
- by Manny
- Manny the Movie Guy
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