U2’s 1997 concert in the aftermath of the Bosnian War is relived and remixed from archive footage, original audio and new testimonials, writes Adrian Pennington.
There’s often a point when making a documentary when the filmmaker finds the key to telling the story. In Kiss The Future it was a conversation director Nenad Cicin-Sain had with The Edge.
“Nenad always said we needed to bring U2 organically into the story but how do we do that?” said the film’s editor Eric Burton. “It was during his interview with the Edge, that informed the next interview with Bono, where it clicked. Nenad noticed that they were talking about punk rock and the Troubles in Northern Ireland in the 1970s and about how bands like The Clash influenced their lyrics; how they didn’t want to be a pop band but a band making music with a message.”
While Burton didn’t explicitly say it, the concern was...
You are not signed in
Only registered users can read the rest of this article.
Building Bedlam: “Can I shoot an entire feature film on 65mm?”
Given the chance to shoot the 18th century action-drama Bedlam, Cinematographer James Butler crafted a daring project that merged medium-format photography with cutting-edge digital cinema on a customised Blackmagic URSA Cine 17K 65.
Behind the scenes: Undertone
While looking after his dying parents, VR Filmmaker Ian Tuason became obsessed with demonic possession stories, which planted the seed for the uniquely creepy sound design of his first feature.
Crafting suspense: “We wanted to raise the bar again”
Nella Mente di Narciso’s Director of Photography, Gianluca Braccieri, reveals the digital film cameras, custom lighting setup, and end-to-end post-production software the team leveraged to achieve the tension and mystery of the Italian crime documentary series’ highly anticipated third season.
Behind the Scenes: Marty Supreme
The creative team behind Uncut Gems brings its characteristic brash beauty and adrenaline to 1950’s New York City in a screwball drama.
Behind the scenes: Hamnet
Look, lighting and camera movement were stripped back to basics by cinematographer Lukasz Żal to create the stage for Shakespeare’s personal tragedy.
