On November 20th, the New York Film Academy (NYFA) had planned a Q&A with Academy Award winner, editor Joe Walker, following a screening of Arrival. Unfortunately, Joe was unable to make it to Burbank, so Tova Laiter, NYFA Director of the Q&A Series, moderated a Q&A conversation with Joe and the students over speakerphone.
As mea culpa, Walker invited the students for a screening and Q&A to his new movie Widows, in theaters now!
Directed by Steve McQueen, Widows, starring Viola Davis and Liam Neeson, has recently opened for Oscar run.
Since Walker has won so many awards and nominations (Arrival, 12 Years a Slave), Laiter asked Walker about the process of voting on the Academy’s end. Walker said that the initial list of Best Film Editing nominees is compiled by the editing branch and then voted on by the Academy. “If you’re nominated… that’s the endorsement by your peers. And then if you win… that’s the endorsement of the entire Academy.”
Asked about his background and how he “made a name for himself,” Walker said that the most important thing was that he “worked harder, and did more.” Walker had started as a sound editor at the BBC, and moved up through the ranks — now he collaborates with Steve McQueen on films like Hunger,12 Years a Slave, and Widows, and with Denis Villeneuve on films such as Arrival and Blade Runner 2049.
One student said that he admired the use of tension in many of Walker’s films, and asked how one might go around building that tension. “Tension is a really complicated thing to achieve… a lot of it is to do with story… you aren’t going to create suspense if there’s nothing to feel suspenseful about… you hope that the reveal is delivered with a little bit of a punch.”
One thing Walker likes to impart on students is, “If you interfere with a performance by cutting on every line — if every line of dialogue has a reaction, and then you come back for another line… it doesn’t allow the audience to look into the eyes and the soul of the character… Let that stuff play, don’t get in the way.”
The New York Film Academy looks forward to welcoming Joe Walker back to discuss his new film Widows and to learn more from him!
Simply put, 2013 was a monumental year in Black cinema with hits like Lee Daniel’s The Butler and The Best Man Holiday and critical darlings such as Fruitvale Station and 12 Years A Slave. However, this is hardly the first time that we’ve seen a glut of diverse and accomplished Black filmmakers emerge, only for Hollywood studios to return to putting out the obligatory two to four films per year aimed at African-American audiences. As the filmmaker Ava DuVernay has stated, “The Hollywood machine has selective amnesia. It’s not like we haven’t gone through a season of robust black image makers before.” In the Black Inequality in Film infographic, the New York Film Academy has charted the history of Black film over the past century while analyzing more recent statistics to assess how Black filmmakers and performers have been represented on screen and behind the camera during the last six years. By classifying “Black Film,” we are referring to movies where the plot revolves around lead characters who are of African descent. The purpose of this infographic is to present some talking points to initiate a discussion on the role of African Americans in Hollywood.
Click on the image below to view the entire infographic.
A day after 12 Years a Slave won Best Picture at the Academy Awards, New York Film Academy Los Angeles students were treated to a private screening of the film at Warner Brothers studios followed by a Q&A with Sean Bobbitt, the film’s acclaimed cinematographer (fresh from winning the Spirit award for his work the previous day).
Sean Bobbitt is a British cinematographer, born in America, but grew up all over the world including England where his father was in the oil industry and worked abroad. He spent years working as a news and documentary cameraman before moving into narrative. He met Steve McQueen thirteen years ago when the director of 12 Years a Slave was doing art installations. After seeing Michael Winterbottom’s Wonderland, Bobbitt’s first narrative feature, McQueen’s wife admired his work and encouraged McQueen to meet Bobbitt. During his first meeting with McQueen, Bobbitt recalls thinking the director was “Either an absolute genius or an absolute lunatic, but either way it was going to be interesting doing something with him.”
Throughout the years, Sean Bobbitt and Steve McQueen have developed a potent cinematic language that is such a breath of fresh air. An example of this is their propensity for long takes. Regarding this, Bobbitt said, “I think a part of the reason it is so powerful is because of that simplicity. We’re not used to it anymore. We’re used to the edit, the edit, the edit, so when you walk away from that people really look at it because it’s unusual, it’s different. And I think by extending those shots, it draws people into the scene, hopefully.” In regards specifically to the long shot in 12 Years a Slave in which actress Lupita Nyong’o’s character gets relentlessly whipped Bobbit said, “What we think happens is by not putting an edit here, particularly in scene of extreme violence, the audience is pulled in further and further into the story. As soon as you put a cut in, they are subconsciously reminded that it’s a film and that they don’t need to be upset because it’s a film. If there’s no cut, there’s no escape.”
Bobbitt discussed the thrill of exploring different techniques with different directors. Different from McQueen’s style, on “A Place Beyond the Pines” director Derek Cianfrance would run take after take and experiment with improve. “Derek is someone who you go into a scene and you just go at it. All handheld, thirty-five millimeter, two-perf, and we would literally just put another mag on a go and go. But he had a reason for that and a method to it that was so fascinating to watch,” Bobbitt said. “The actors were really able to explore the scene itself and come around to a performance.”
After being asked about the sacred relationship between the cinematographer and director Bobbitt said, “From day one it has to do with personality. If you get on with a director and you see the same things, or you over time start to see the same things. It does take time and it takes effort from both people. It’s important as a cinematographer that you get as long of a pre-production period as you can. On average, if you do not have five weeks of pre-production with the director, you don’t have enough time. Because as you become closer to the (shoot) day, your access (to the director) becomes less and less. So you’ve got to come in with ideas.”
A student asked Bobbitt what he looks for when choosing a project to work on, to which he said, “I have always been very choosy about the projects I’ve done. I have waited months, unemployed, for the right films. And I have designed my life so that I can go for months without an income. And I think that’s the key. Because you’re going to be giving your life, or you should be giving your life, to whatever film you’re going to be doing. So do the films you think are worth it, in any point in your career. The only caveat I would give to that is that in the early part of your career as a cinematographer, shoot anything. It’s about experience, and the only way you get experience as a cinematographer is by shooting. Nothing else.”
Bobbitt said that he reads every script that he receives and that, “The first time I read it I don’t read it as a cinematographer. I just read it… thinking is this a good story? Did this move me in some way? Is this interesting, is this original, is there something here that’s worth the effort?”
What was blatantly apparent during the Q&A was how extremely authentic Sean Bobbitt is. Clearly this permeates through his work and allows him to create such meaningful art. It was a pleasure to hear him speak and he offered sage advice to the audience who clung to his every word. A giant within his craft, Sean Bobbitt’s work has elevated the cinematic art form and his future is now brighter than ever.