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David Poland

By David Poland poland@moviecitynews.com

My 15 Favorite DP/30s of 2016

It’s hard to describe exactly what makes a DP/30 interview one of my favorites. Honestly, I am already questioning my choices as I push “publish” on this entry. There are so many other DP/30 interviews from this year (I’m not including Celebrity Conversations on the list) that I love for so many odd reasons. Mica Levi fascinated me for every minute I was in the room with her. Casey Affleck took me to unexpected places, which is air to me. Finally got to sit with Seth Rogen and Evan Goldberg and they were wide open. Greta, Jessica, Brolin, Frears, Juno… all regulars on the show who I would travel to talk to any day of the week. (Again, just the DP/30 list… the year wouldn’t be the same without regulars shot for Ovation this year, like Amy Adams or Felicity Jones or Nicole Kidman or Mike Shannon.)

Shot Alden Ehrenreich for the 2nd time… the first being for his debut… and he is a good guy on his way to being a big star. Refn is always wild. Finally got Colin Farrell and Cliff Martinez and Sarandon and Fenton/Barbato and Gillian Jacobs and Miles Teller and Kate Beckinsale and Tracy Letts and others I never really expected like Tori Amos and Shawn Levy and the fascinating Kyra Sedgwick. And that doesn’t even start on the directors: Damien Chazelle, Barry Jenkins, Pablo Larrain, Ken Lonergan, Denis Villeneuve, Garth Davis, Garth Jennings, Jeff Nichols, Bayona (still to be published), and Tom Ford, amongst others. And the amazing couple the work together, writing, directing, producing movies and are likely to have the first Oscar grace their home this February. And documentarians.

I get to talk to a lot of incredibly talented people about work that moves them deeply.

But there is something about these 15… something truly unexpected… something silly… something real… something that stuck with me in a different way.

The only one of these shot by Ovation is the hour with Jeremy Irons, which will air it a 23 minutes at some point, but which I intentionally made an hour. Expect longer interviews in 2017.

One Response to “My 15 Favorite DP/30s of 2016”

  1. Glamourboy says:

    A little self-congratulatory, isn’t it? In an industry full of year-end lists, why not post your top 15 list of the interviews you have done. Maybe film critics should post a top ten list of their own favorite reviews of the year. Personally, although I try, I can never get too far into any of these…about 5 or ten minutes

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch