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By David Poland poland@moviecitynews.com

Page 22

Link to the List

Nell Minow
AWFJ

1 Up in the Air
2 Where the Wild Things Are
3 Precious
4 Fantastic Mr. Fox
5 (500) Days of Summer
6 District 9
7 Coraline
8 Up
9 Star Trek
10 An Education
Link to the List

Jessica Barnes

1 Where the Wild Things Are
2 The Hurt Locker
3 Moon
4 Inglourious Basterds
5 District 9
6 Funny People
7 Watchmen
8 Star Trek
9 Adventureland
10 Food Inc.
Link to the List

Shelli Sonstein
AWFJ

1 Up in the Air
2 Inglourious Basterds
3 Up
4 The Hurt Locker
5 Precious
6 The Messenger
7 Avatar
8 Zombieland
9 Pirate Radio
10 Bruno
Link to the List

Cynthia Fuchs

1 Back Home Tomorrow
2 Beaches of Agnes
3 How to Fold a Flag
4 The Hurt Locker
5 Living in Emergency
6 October Country
7 Sugar
8 35 Shots of Rum
9 Treeless Mountain
10 24 City
Link to the List

Diana Saenger
AWFJ

1 Avatar
2 The Messenger
3 Bright Star
4 Imaginarium of Dr. Parnassus
5 Sin Nombre
6 Me & Orson Welles
7 The Cove
8 The Burning Plain
9 The Hangover
10
Link to the List

Joanna Langfield
AWFJ

1 Up in the Air
2 The Hurt Locker
3 A Serious Man
4 Avatar
5 Up
6 District 9
7 Crazy Heart
8 An Education
9 (500) Days of Summer
10 Adventureland
Link to the List

Thelma Adams

1 Up in the Air
2 The Hurt Locker
3 Star Trek
4 The Hangover
5 The Young Victoria
6 District 9
7 Coco Before Chanel
8 Inglourious Basterds
9 Paranormal Activity
10 Up
Link to the List

Rebecca Murray

1 Avatar
2 (500) Days of Summer
3 Up
4 An Education
5 Inglourious Basterds
6 The Hurt Locker
7 The Road
8 Zombieland
9 Up in the Air
10 District 9
Link to the List

Claudia Puig
AWFJ

1 The Hurt Locker
2 Up
3 Up in the Air
4 Sin Nombre
5 Sugar
6 (500) Days of SUmmer
7 District 9
8 Inglourious Basterds
9 A Serious Man
10 Summer Hours
Link to the List

Carol Cling
AWFJ

1 The Hurt Locker
2 An Education
3 Bright Star
4 Up
5 Princess and the Frog
6 The Cove
7 A Serious Man
8 In the Loop
9 Up in the Air
10 Sin Nombre

Thelma Adams | Jessica Barnes | Carol Cling | Cyntia Fuchs | Brandy McDonnell | Nell Minow | Rebecca Murray | Claudia Puig | Diana Saenger | Shelli Sonstein

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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