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Steve Jobs has an astute quote about getting things right: “Details matter.” While it may not be the most radical thing he ever said, it’s surely one of the truest things he said. In filmmaking, it applies nicely. Whether it’s on-set or in post-production, attention to detail can take your project from good to great, letting the viewer know that they’re in not just capable hands, but caring hands.
For Directors Heidi Berg and Felix Soletic, attention to detail was everything when they started dreaming up the dream-like title sequence for Netflix’s The Politician. It’s an eery, fantastical, and entrancing sequence packed with little details the viewer may or may not understand. But, that doesn’t mean it should be ignored.
In a way, title sequences serve an entirely different purpose than the introduction of a show. They’re most likely compared to a book’s forward, where an outsider offers a rich, unexpected perspective on a work of art. It’s tangentially related but exists in a parallel universe.
For Directors Heidi Berg and Felix Soletic, along with Editor Doron Dor, they live for this moment, the opportunity to give the audience a glimpse into something deeper than plot and storylines. In their work on Ratched, they’re giving viewers a glimpse into madness.
We launched our Behind the Work series to feature incredible filmmakers and the skills required to produce great content. In season two, we’re pulling the curtain back on the creative processes that precede the work these filmmakers create. As we spoke with The North Face’s creative team about their short film Lhotse, we noticed gems throughout. In-between anecdotes of avalanches and 8,000-meter summits, there were so many branded content truths that extended beyond the project. It takes a lot of skill and experience to successfully produce a film like this one, and we wanted to share these takeaways with you. Here’s The North Face’s creative team on what it takes to make a film like Lhotse.
Several times during our conversation, Director Rune Milton Olsen literally jumped out of his chair and started pacing around the room when talking about the production of Life. DP Paul Meyers would laugh, as if this was nothing new, mirroring his enthusiasm. They’re the two minds behind the short film, made for Doctors Without Borders, and to say it was a passion project is quite the understatement.
For many filmmakers, commercial work and cinematic work do not mix. On one hand, you have a format where you have complete control over the final product. On the other hand, you have the opposite. But, during our conversation with Director Rayka Zehtabchi, she pointed out there might be a brighter future for filmmakers with
In this episode of Behind the Work, director Goh Iromoto breaks down how embracing his way of filmmaking rather than the “right way” allowed him to tap into his full potential.
On this episode of Behind the Work, Director, and founder of Neighborhood Film Company, Ricky Staub, breaks down how he used a short film as his proof of concept to create his first-ever feature film. Read to learn the steps Ricky took to make his work stand out.