‘There Was, There Was Not’ director Emily Mkrtichian in the warzone of erasure
Director Emily Mkrtichian joins us to discuss 'There Was, There Was Not,' her documentary that began filming in 2016 and evolved in devastating ways no one could have anticipated. Emily opens up about the mythology embedded in the film's title, a traditional Armenian storytelling phrase, and how the story she set out to tell transformed from hopeful beginnings into a chronicle of war and survival as conflict erupted.Our conversation explores how Emily reckoned with this unpredictable evolution, documenting real trauma as it unfolded rather than the narrative she originally envisioned. She discusses her decision to center the film around four women, keeping them in focus as war began engulfing their lives.Emily reveals how maintaining this intimate perspective amid chaos became both a creative anchor and an ethical responsibility in bearing witness to these women's experiences.(Photo credit: Chris Natalie)
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Seamus McGarvey on reshaping light and vision in 'Die My Love'
Cinematographer Seamus McGarvey joins us to discuss 'Die My Love,' his latest collaboration with director Lynne Ramsay. Seamus reflects on their decades-spanning friendship and creative partnership, revealing how Ramsay's unique filmmaking style continually reinvents cinema.Our conversation delves into the technical choices that define the film's aesthetic, particularly the decision to shoot on Ektachrome and employ day for night techniques. Seamus explains how these choices serve the narrative's psychological intensity and create the film's otherworldly atmosphere.Seamus also shares his philosophy on cinematic adaptation, emphasizing that the difference between projects isn't measured in scale but in transformation. He elaborates on how he becomes a different cinematographer with each director he works with, and indeed with each film, reshaping his approach to serve the unique demands of every story.(Photo credit: Kimberley French)
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We Need to Talk About Emmy #28: Mike Makowsky on the irony of tragic events in ‘Death by Lightning’
This time around we are joined by Mike Makowsky, creator of the limited series ‘Death by Lightning,’ about bringing the story of one of America’s lesser known presidents to the screen.Mike shares how he connected with Candice Millard’s book and what it took to get a 4-episode historical series made in the current TV landscape, where IP recognition often drives decisions.We also dig into comedy’s role in serious and tragic moments, and how humor shapes the way we process historical drama.(Photo credit: Jana Williamson)
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Cherien Dabis bears witness across generations in 'All That's Left of You'
Writer-director-actress Cherien Dabis joins us to discuss 'All That's Left of You,' a film following a Palestinian family across three generations of conflict. Cherien opens up about evacuating the production from Palestine to Cyprus, Greece, and Jordan just two weeks before filming began due to escalating violence.Our conversation explores how Cherien balanced writing, directing, and acting while managing this unprecedented crisis. She reveals how these interconnected roles informed one another and shaped her deeply embedded perspective on the storytelling.Cherien also reflects on the ongoing Gaza genocide and its impact on both the film and its narrative spanning the Nakba, the occupation, and the first Intifada. Selected as Jordan's Oscar entry for Best International Feature, the film stands as a testament to perseverance amid overwhelming adversity.
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John-Michael Powell sculpts violence in 'Violent Ends'
Writer-director John-Michael Powell joins us to discuss 'Violent Ends,' his southern crime thriller hitting theaters on Halloween. Powell opens up about the leap from his micro-budget debut 'The Send-Off' to this significantly larger production, sharing insights into navigating that scale shift.Our conversation explores John-Michael's extensive editing background and how it shaped his approach to directing. He discusses how his editorial experience allows him to move efficiently on set and make confident decisions about coverage. Powell also reveals the unique dynamic of now working with an editor after years behind the cutting room himself, and how that relationship informs his vision behind the camera.We delve into the film's intentional approach to violence and gore within action sequences, with him emphasizing their deliberate portrayal of violence as a rumination on its destructive nature.(Photo: Courtesy of Kai Caddy)
We Need to Talk About Oscar offers in-depth interviews with filmmakers, actors, and industry professionals. Although inspired by titles you expect to be represented at the Oscars, our conversations extend to buzzy indie projects and TV shows, exploring both the technical aspects of filmmaking and the personal stories behind them.
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