Tribeca Film Festival: Song of the Back and Neck

Song of the Back and Neck

Writer-director Paul Lieberstein (Toby from The Office) stars in his first feature film, Songs of the Back and Neck.  As odd and slightly cumbersome as the title is, it works for this sweet and funny story which is one of self-discovery.  Fred (Lieberstein) is a hapless paralegal at his father’s law firm.  Constantly put down by young attorneys at the firm and crippled by back and neck pain, Fred struggles to get through each day, physically and emotionally.  When the beautiful and charming Regan (Rosemary DeWitt) walks into his office looking for a divorce, Fred is smitten.  She suggests Fred visit an acupuncturist, who helps Fred both relieve his pain and discover an unusual gift. Bonding through their shared neck and back pain, Fred and Regan embark on a romance to heal their broken hearts and aching torsos.

Lieberstein created a very true to life story which allows the audience to empathize with the character’s disenchantment with his life, but also delivers some unexpected belly laughs. Songs of the Back and Neck is well worth the price of admission.  The film premiered on April 23 at the Tribeca Film Festival.  There is one more showing at the Festival on Saturday, April 28, so be sure to check it out!


The Trip to Spain

Rob Brydon [Rob] and Steve Coogan [Steve] in Michael Winterbottom’s THE TRIP TO SPAIN. Photo courtesy of IFC Films. An IFC Films release.
During last spring’s Tribeca Film Festival, one of the most enjoyable movies was The Trip to Spain. It  won me over simply for the two actor’s dueling impressions of Mick Jagger, David Bowie, and of course Michael Caine. Steve Coogan and Rob Brydon’s midlife crises, mansplaining, trip—while damn hilarious—is darker than their previous films. It’s a neurotic treat for the insecure fools in all of us.

Our Top 5 Latinx Films at 2017 Tribeca Film Festival

The 16th Annual Tribeca Film Festival, set for April 19-30, is taking over lower Manhattan for another year of quality filmmaking, groundbreaking new digital storytelling, and some of Hollywood’s biggest names. With a power roster that includes over 200 films playing from 28 countries, 78 of which are world premieres, six international, six North American, two U.S., and six New York premieres, you might need some help figuring out what to watch.  MoviefiedNYC is here with our Top Five Latinx picks that include: a documentary on what ever happened to Elián González (an Alex Gibney joint); a narrative film about the journey of a boxer from the Dominican Republic (this is the first time the D.R . has a selection at the festival); a movie about an Argentinian actor trying to make it in NYC; and finally an online feature about  one of oldest civil wars that’s still going strong.  

Check them out below and make sure to click on the link for showtimes.

ELIÁN – Spotlight Documentary
Directed by Tim Golden, Ross McDonnell. (Northern Ireland, Ireland, USA) – World Premiere.

Thanksgiving, 1999: Two fishermen on the Florida Straits find a young Cuban boy, Elián González, floating alone in an inner tube. Their discovery evolves into a custody battle between Elián’s Cuban father and his Miami-located relatives that brings the conflict between Cuba and the U.S. to the forefront. Eighteen years later, ELIÁN, executive produced by Alex Gibney, gives the now grown-up Elián the chance to tell his own side of the story. In English, Spanish with subtitles.

Sambá – International Narrative Competition
Directed by Laura Amelia Guzmán and Israel Cárdenas, written by Ettore D’Alessandro, Carolina Encarnacion. (Dominican Republic) – World Premiere.

Cisco has his back against the ropes. After spending 15 years in an American jail, he’s returned to the Dominican Republic yet is unable to get a job, a problem compounded by his mother’s ailing health and his younger brother’s delinquent habits. To make money, he’s resorted to illegal street fighting. But Cisco finds a possible salvation in Nichi, an Italian ex-boxer who sees dollar signs in Cisco’s gritty fighting skills. With Algenis Pérez Soto, Ettore D’Alessandro, Laura Gómez, Ricardo A. Toribio. In Spanish with

Nobody’s Watching (Nadie Nos Mira) – International Narrative Competition
Directed by Julia Solomonoff, written by Julia Solomonoff, Christina Lazaridi. (Colombia, Argentina, Brazil, USA, Spain) – World Premiere.

After giving up a successful soap opera career in his native Argentina for a chance to make it in New York, Nico finds himself staying afloat with odd jobs bartending and babysitting. In a moving depiction of the vibrant city, Nobody’s Watching questions who is watching and how we adjust ourselves accordingly. With Guillermo Pfening, Rafael Ferro, Paola Baldion, Elena Roger, Cristina Morrison, Kerri Sohn, Marco Antonio Caponi. In English, Spanish with subtitles.

The Holdouts – N.O.W. (New Online Work)
Directed by Ramon Campos Iriarte (Colombia) – World Premiere.

The Western hemisphere’s oldest civil war is still going strong in the jungles of Colombia. The National Liberation Army (ELN) —a Marxist military organization— has been fighting for revolution since 1964, and with the FARC having declared a ceasefire, the ELN is today the last active guerrilla army in the Americas. In Spanish, English with subtitles.

A River Below – Documentary Competition
Directed by Mark Grieco. (Colombia, USA) – World Premiere.


Deep in the Amazon, a renowned marine biologist and a reality TV star are each working to save the indigenous pink river dolphin from being hunted to extinction. When a scandal erupts, ethical questions are raised as murky as the waters of the Amazon River. Mark Grieco’s (Marmato) surprising documentary digs into the ethics of activism in the modern media age. In English, Portuguese, Spanish with subtitles. Earth Day Screening.

Tribeca Film Festival Turns 15: MoviefiedNYC Recommends #Tribeca2016

Downtown_datesIt’s April in New York City and that means it’s time for independent film makers to flood lower Manhattan for this year’s Tribeca Film Festival. This year Tribeca celebrates it’s 15th Year with more local and international films and shorts, exciting street fairs,  and also virtual reality as they will explore storytelling with a unique immersive experiences with Storyscapes and Virtual Arcade, where “stories are not passively watched but they are actually experienced—you are the participant.”

Here are a few of the movies and special events MoviefiedNYC recommends at this year’s Tribeca Film Festial.

Strike a Pose (Premiers April 15)

Top row: Salim Gauwloos, Oliver Crumes III, Carlton Wilborn, Kevin Stea. Bottom row: Luis Camacho, Jose Gutierez. From the film STRIKE A POSE. (Photograph by Linda Posnick)
Top row: Salim Gauwloos, Oliver Crumes III, Carlton Wilborn, Kevin Stea. Bottom row: Luis Camacho, Jose Gutierez.  (Photograph by Linda Posnick)

Directed and written by Ester Gould and Reijer Zwaan. (Netherlands, Belgium). What does it take to express yourself? The surprising and moving story of Madonna’s most famous troupe of dancers. Strike a Pose is a dramatic tale about overcoming shame and finding the courage to be who you are.

Equals (April 18)

Kristen Stewart as Nia in the film EQUALS. Photo courtesy of A24.
Kristen Stewart. Photo courtesy of A24.

Directed by Drake Doremus and written by Nathan Parker. (USA). Kristen Stewart (Twilight) and Nicholas Hoult (Mad Max, About a Boy) star in the ambitious new film from director Drake Doremus (Like Crazy), about a utopian future society where crime and violence have been eradicated through the genetic elimination of human emotion.

After Spring (Opens April 14)

Ibrahim walking home from bread distribution at the Zaatari Refugee Camp, Jordan. After Spring, Directed by Steph Ching & Ellen Martinez, Photo Credit: Jason Graham Howell
After Spring, Directed by Steph Ching & Ellen Martinez, Photo Credit: Jason Graham Howell

Directed by Ellen Martinez, Steph Ching (USA).  After Spring follows the struggles and triumphs of two Syrian families living in a Jordanian refugee camp as they contemplate an uncertain future. This is a hopeful film, showing the resilience of the Syrian people.

My Scientology Movie (Premiers April 17)

Louis Filming being Filmed at Gold Base. © BBC/BBCWorldwide
Louis Filming being Filmed at Gold Base. © BBC/BBCWorldwide

Not your typical exposé. BBC doc-maker and journalist Louis Theroux teams up with director John Dower and double Academy Award winning producer Simon Chinn (Searching for Sugar, Man On Wire) to explore the self-mythologizing Church of Scientology.

High Rise (Opens April 20)

Sienna Guillory as Jane Sheridan in HIGH RISE, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures. Photo credit: Aidan Monaghan
Sienna Guillory. Photo credit: Aidan Monaghan

Directed by Ben Wheatley, written by Amy Jump, Ben Wheatley. (UK). Tom Hiddleston and Jeremy Irons star in the new film by cult British director Ben Wheatley (Kill List, A Field in England), an ambitious adaptation of the J.G. Ballard novel about a London apartment tower that becomes a battlefield in a literal class war.

Obit (Opens April 17)

Editors meet each morning to consider what deaths to cover. Photographer: Ben Wolf
Editors meet each morning to consider what deaths to cover. Photographer: Ben Wolf

World Premiere Directed by Vanessa Gould. How do you capture a life in 500 words? Ask the New York Times obituary writers. Each day, under relentless deadlines, they shine a literary light on unusual lives. A first-­ever look into the rituals, joys and existential angst of chronicling life after death on the frontlines of history.

Storyscapes (April 14 – 17)

Attendees enjoying the DEEP experience at DOK Leipzig, November 2015. (Photographer: Susanne Jehnichen)
(Photographer: Susanne Jehnichen)

Storyscapes projects at the 2016 Festival, open April 14-17, feature both installations and VR. The program includes projects that grapple with issues of racism, violence and harm inflicted on our planet, combining the excitement of these new immersive mediums tempered with the urgency of a world on fire. It is in turns thrilling, upsetting, shocking and wonderful, much like the world we live in.

“This year’s Storyscapes offerings are a reflection of today’s world. We live in a very charged period—from the political landscape to unprecedented violence—and the Storyscapes installations are compelling and engaging experiences that balance some of the sobering issues facing society, as well as inspiring and wonderful ones,” said Ingrid Kopp, Storyscapes curator.

Virtual Arcade (April 18-23)

Allumette in Clouds. (Created by: Penrose Studios)
Allumette in Clouds. (Created by: Penrose Studios)

Virtual Arcade debuts at the 2016 Festival, helping to expand the immersive entertainment slate with thirteen additional VR experiences from some of the leading creators and emerging voices in this new medium. 


Tribeca Film Festival: Our Audience Award Favorites

TFF 2015 Competition Collage

This coming April  at the 2015 Tribeca Film Festival competition, the World Narrative and World Documentary Competitions will be presented in the following juried categories: Founders Award for Best Narrative Feature, sponsored by AT&T; Best New Narrative Director (for first-time feature directors in any section); Best Actor in a Narrative Feature, sponsored by Citrin Cooperman; Best Actress in a Narrative Feature, sponsored by Citrin Cooperman; Best Screenplay in a Narrative Feature, sponsored by Freixenet Spanish Cava; Best Cinematography in a Narrative Feature; Best Editing in a Narrative Feature; Best Documentary Feature; Best Editing in a Documentary Feature; and Best New Documentary Director (for first-time feature directors in any section).

One narrative film directed by or written by a woman with a film making its North American, International, or World Premiere will receive the Nora Ephron Award, sponsored by Coach, which recognizes a woman who embodies the spirit and vision of the legendary filmmaker and writer Nora Ephron. Two feature films—one narrative and one documentary—will be selected to receive the Audience Award, the audience choice for best feature film and that is what we are interested in the here the most at MoviefiedNYC.

The films playing in the World Narrative Competition, World Documentary Competition, Viewpoints, Spotlight and Midnight sections are all eligible. To catch up with all the entries please visit the Tribeca Film Festival site, below are some of our favorites at the blog.

World Documentary Feature Competition

Carlos in his '56 ThunderbirdPhotographer: Michael ColesHavana Motor Club, directed and written by Bent-Jorgen Perlmutt. (Cuba, USA) – World Premiere. Reforms have offered opportunity in Cuba but the children of the Revolution are unsure of the best route forward. For a half-dozen drag racers, this means last-minute changes to their beloved American muscle cars, as they prepare for the first sanctioned race in Cuba since 1960. Punctuated by a lively Cuban soundtrack, Havana Motor Club offers a fascinating glimpse at the resilience and ingenuity of the competitive spirit. In Spanish with subtitles.

Porto Alabe being allotted to the UnicornPhotographer: Guillaume Bonn

Palio, directed and written by Cosima Spender and Co-Written by John Hunt. (UK, Italy) – World Premiere. In the world’s oldest horse race, the Palio, taking bribes and fixing races threatens to extinguish the passion for the sport itself. Giovanni, unversed in corruption, challenges his former mentor, who dominates the game. What ensues is a thrilling battle, filled with the intoxicating drama that is at the center of Italian tradition. In Italian with subtitles.

 World Narrative Feature Competition

Luke Wilson (Philip) Photo credit: Reed Morano

Meadowland, directed by Reed Morano, written by Chris Rossi. (USA) – World Premiere. Sarah and Phil’s son goes missing, shattering their life together and forcing each to find their own way to cope. Cinematographer-turned-director Reed Morano presents a masterfully crafted contemplation on a relationship strained to the breaking point. Olivia Wilde and Luke Wilson capture the unraveling emotions with remarkable power, alongside Kevin Corrigan, John Leguizamo, Elisabeth Moss, Giovanni Ribisi, Juno Temple, and Merritt Wever.


The Adderall Diaries, directed and written by Pamela Romanowsky. (USA) – World Premiere. Elliott (James Franco), a once-successful novelist inflicted with writer’s block and an Adderall addiction strives to escape his problems by delving into the world of a high-profile murder case. Amber Heard, Ed Harris, and Cynthia Nixon co-star in this adaptation of Elliott’s best-selling memoir.


Sworn Virgin (Vergine Giurata), directed and written by Laura Bispuri, co-written by Francesca Manieri. (Albania, Germany, Italy, Kosovo, Switzerland) – North American Premiere. As a young woman living within the confines of a Northern Albanian village, Hana longs to escape the shackles of womanhood, and live her life as a man. To do so she must take an oath to eternally remain a virgin. Years later, as Mark, she leaves home for the first time to confront a new set of circumstances, leading her to contemplate the possibility of undoing her vow. In Albanian, Italian with subtitles.



The Wolfpack, directed by Crystal Moselle. (USA) – New York Premiere, Documentary. Everything the Angulo brothers know about the outside world they learned from obsessively watching movies. Shut away from bustling New York City by their overprotective father, they cope with their isolation by diligently re-enacting their favorite films. When one of the brothers escapes, the world as they know it will be transformed. A Magnolia Release.


Lucifer, directed and written by Gust Van den Berghe. (Belgium, Mexico) – United States Premiere, Narrative. An angel falling from heaven to hell unexpectedly lands in a Mexican village where his presence affects the villagers in surprising ways. Inspired by the biblical story, Lucifer is a mesmerizing, moving, and unique exercise in form, presented in the director’s own format, Tondoscope. In Spanish with subtitles.



Scherzo Diabolico, directed and written by Adrián García Bogliano. (Mexico, USA) – World Premiere, Narrative.Armed with a fine-tuned chokehold and penchant for piano sonatas, a wearied accountant breaks his mild-mannered routine when he kidnaps a young woman. What starts as a carefully calculated plan soon crescendos into his worst nightmare. A delightfully twisted black comedy, Scherzo Diabolico is the latest opus from director Adrián García Bogliano. In Spanish with subtitles



Dirty Weekend, directed and written by Neil LaBute. (USA) – World Premiere, Narrative. Neil LaBute returns to Tribeca with this sharp-edged comedy treat about the ripple effects of desire, whether it’s followed or left unredeemed. Matthew Broderick and Alice Eve are wonderful together as colleagues with secrets who come to depend on each other for understanding as they go to find a spark of excitement in Albuquerque, after dark.


The Emperor’s New Clothes, made by Michael Winterbottom & Russell Brand (UK) – International Premiere. Cinema’s prolific writer/director Michael Winterbottom and comedian/provocateur Russell Brand join forces in this polemical expose about inequality and the financial crisis. From London to New York the film combines documentary style, archive footage and comedy to explore how the crisis has gravely affected the 99% and only benefited the 1%.


Media for Lunch: Tribeca Film Festival Recommended Shorts


Direct from Tribeca Film Festival, which will start April 15. Sharon Badal, the head of this year’s Shorts Program, each week presents a short that she feels deserves a bigger audience. So, to that bigger-audience end, here is “Just Saying” directed by Dave Tynan.



Historical Honesty, Companionship, Visual Aesthetics, and a Healthy Diversity of Filmmakers. Interview with Below Dreams Director, Garrett Bradley

I was so pleased that during her busy Tribeca Film Festival debut with Below Dreams, fellow New Yorker, Garrett Bradley, took the time to sit with me and discuss her first feature film.  Stemming from a New York Times article that Garrett read years back, Below Dreams is a poetic portrayal of lost, yet fighting, souls trapped in the deficiencies of today’s society.  Garrett took audio recordings on trips she made between New York and New Orleans, meeting young men and women who opened up to her about their life experiences, and used those recordings as a blueprint to write her script.  Casting her entire film on Craigslist and shooting with a tiny, seven person crew, Garrett has proven that with talent, perseverance, passion, love, and lots of hard work, one can make a film if one truly desires it.  Garrett approached her film prepared in research and application, yet remained completely spontaneous in realization.  She kept an open discourse with her cast and crew, and was able to create a beautiful work of art.
Below Dreams is a contemporary return to a somewhat lost independent film movement that was so prevalent in the 1960s and 1970s.  Garrett Bradley presents a film that is grounded in poetry, yet socially relevant, and full of compassion.  The story cuts between three main characters and their surrounding friends and family, on individual missions and journeys in their lives to reach their dreams, whether finite, immense, immediate, or in the distant future.  Elliott (Elliott Ehlers), Jamaine (Jamaine Johnson), and Leanne (Leanne Miller) carry us through their search for a better life for themselves and their loved ones.  As the film progresses, we will see their growth and witness the changes that they have made to try and reach their goals.  Bradley places the spectator right in the middle of the action, revealing a true part of these people’s lives.  
My compliments go to Garrett for having the courage to make the film she wanted, despite the difficulties she faced in all stages of production, and for creating a harmonious mix between art and social commentary.  I hope that filmgoers see this film, as I believe it to be vital in returning to a cinema that matters, a cinema that takes responsibility for its characters, for honesty in its emotion.  In our contemporary business and result- driven society, Below Dreams is crucial in understanding, and at the least confronting, the problems today’s youth face.   

Marco Agnolucci
Agnolucci: When and why did you realize that you had to tell THIS story?
Bradley: When the New York Times article came out, which was called “What is it about these Twenty Somethings?”  It spoke about these gorgeous people that had great educations who weren’t able to get jobs.  At that point I realized that there could be a more diversified image of what this meant.  Like my generation, the subjectivity of history, and the way we see the past, is just based on the iconography that is presented.  As an artist, I felt that I had the responsibility to insert some imagery that I felt was a more diversified and honest view of that.
Agnolucci: We have similar tastes in filmmakers and film.  I know you love neorealism, 1970s’ filmmaking, as well filmmakers such as Cassavetes, Agnes Varda, Antonioni, and Schlesinger, to name a few.  What attracted you to these artists?  What did they leave you with, personally? 
Bradley: Each of them left me something different.  I think Cassavetes is somebody who has a real fierceness in his work.  But I think they, if I were to give you a more global answer in terms of what I take from all of them, have a real fingerprint in their work.  The work they create stands individually.  There is a real fingerprint there.  Whether it’s the same kind of work that I do, it’s inspiring, because it’s unique in and of itself.
Agnolucci: It seems to me that you have undergone some of the journeys that your characters have.  What visuals, storytelling, and stylistic ways, did you find to convey your personal touch in your film?
Bradley: I had trained myself.  I started shooting, when I was sixteen years old, and I made a film at that age that got a little award.  It was at that point that I realized that filmmaking was a tool that I could really use to express myself with.  So I was self-taught until I went to graduate school, when I was twenty-two.  That’s when I learned the real traditions of cinema, and I think that what is in Below Dreams is a real balance of that tradition and formality, but also a more impressionistic expression of how I feel. 
Agnolucci: You used several long takes that observed the action and adapted to the characters’ movements.  Was this intentional and planned?  Did you use this technique in the many shorts you’ve made previously, or was it a consequence of this story?
Bradley: No, I think that it’s really important, and something that I would like to get across with that, is that the length of a scene or the technique of doing a single shot and not cutting is just technique.  I’m interested in focusing on what is the message of the scene, what is being said in the scene, what is the emotion that we want to get across, and then how does the technique fit into that.  As opposed to it being the other way around.  So when we have these really long takes, it isn’t just for the sake of having a really long take.  I mean, it’s important that that’s clear, because a lot of people ask that.  The reason why those scenes are so long is because I’m waiting till they (the characters/actors) stop talking.
Agnolucci: It seems to me that unity amongst family and friends, as well as their respective separation, are important themes in this film.  Traveling can be a solitary activity, yet in this film it is done in the presence of companions.  Can you please talk about that?
Bradley: Yeah, that’s a really good question. Companionship is a really important part of this film.  I think, it’s because we’re so lost in the world. There is a very small support network; there is nothing that is built into the lives of these characters, with the exception of Elliott.  So friendship, and even advice from strangers, is something that happens in the real world, and I think it’s something that lost souls attract. 
Agnolucci: We touched upon this a bit, but please tell me about your camera choices in this film, and why you chose to use a handheld camera at times?
Bradley: I wanted to use a handheld camera, because the characters are moving, and we needed to be able to move with them.  That was kind of the first real justification for that.  It was also that it was more practical: we didn’t really have any money, so we used two handheld cameras, you know.  We shot on two cameras, but not in every scene.  For me it was a way to feel like the camera was just another person in the room, which was an important part of it.  It wasn’t about observing, it was about really being in it, being a part of it. 
Agnolucci: I love the jazz and dance scene that’s all cooled out by the creamy blue colors. It    reminded me of Cassavetes’ Shadows; of course, that was in black and white, though.  The next scene that you cut to had a more tribal and angelic sound with hotter color tones.  Was this an editing/post-production choice?  Tell us about the editing process.
Bradley: The editing process was difficult; I spent about two years in my bedroom cutting the film.  I had a lot of different options; we had so much content, and I had a lot of different directions that I could go with it.  I really wanted to experiment with new visual aesthetics, new ways of engaging with film, and the best way that I could do that, I thought, was to use things that were traditionally mistakes.  For instance, when the camera drops down for a minute, or when the camera pans to the left when the shot’s over.  I made a conscious choice to leave those things in, because I felt that it showed this interconnectedness of space.  I could have cut that stuff out and kept a really slick film, but I wanted to see what it was like to not do that. 
Agnolucci: I loved the way you showed people, animals, and objects in your film, especially how you shot certain short takes from above.  Did you work with the cameramen to set up the shots, or did you let them do their thing?  Did you storyboard?
Bradley: Yeah, we did storyboard a little bit.  I come from a photography background.  Concert photography is what I did to make money for a really long time.  So I actually work on developing the script in the same way that I work with the cinematographer in developing the visual landscape.  That was extremely important to me.  I shot a lot of stuff on my own, and then showed it to both of the cinematographers, so that we had a real understanding of the approach, of what it’s going to look like, and how the camera is going to function.  We did a lot of rehearsals.  We shot about one month of rehearsals with the camera. We also rehearsed for six months with the actors but without the camera. We shot the film in fourteen days.                  

Agnolucci: Your film has many slices- and beautiful moments of life in it, and it actually looks like a documentary, which is a compliment in my eyes.  How do you work with actors?  How do you make them feel so comfortable with you?
Bradley: I think that every story and collaboration is going to be different.  In this particular case, I think that I was able to relate to each of those three characters in a special way that was connected to my own background.  I grew up with a single mom, and I’m also a woman, obviously, so connecting with Leanne was something that felt very natural to me, and I think that she could sense that and trusted me.  I think that working with Jamaine, also being a person of color, was something that he kind of inherently trusted as well.  It was also because we talked a lot about that.  That was a part of our dialogue: what does it mean to be a person of color in the South?  Having those candid discussions set up a tone of there’s going to be justice in this, or there’s going to be some kind of advocacy for what it is that we talk about in the work.  With Elliott, as well: I come from New York City, I got a good education, and I went to good schools.  I have the luxury of taking taxis sometimes, if I need to.  You know what I mean?  I don’t have tons of money, but I have that option more so than the other two characters.  So he and I were also able to speak in a really realistic way, of how does class play a role in our lives?  I think that that’s important for any director, and think that it’s vital for entities that support filmmakers to support different kinds of filmmakers, because that means that we’re going to see different kinds of films.  In that case the direction will come in a way that feels more interesting and not just the same thing over and over again.

Agnolucci: What camera(s) or format(s) did you shoot on?

Bradley: We shot on two Canon 7D cameras.  We used CP.2 Zeiss Lenses, which are really expensive and made of fancy glass.

Agnolucci: The funeral home director was terrific in your film.  Where did you find him?
Bradley: I used to work for him in a funeral home in the Ninth Ward in New Orleans. 

Agnolucci: Leanne, played by Leanne Miller, told us what she cared about.  What do you, Garrett Bradley, care about?
Bradley: I care about other people.  I care about the direction that the field I’m in is going.  I care about making work that is going to push the medium that I’m in. 

Agnolucci: Please list five films that have influenced you as a filmmaker, and in life, and changed the way you perceived a film to be made?
Bradley: Midnight Cowboy, Taxi Driver, Zabriskie Point, Nashville, and Shadows.

Agnolucci: Did you mic the actors individually for the scooter scene, and just roll beside them in a moving car to capture the fluid footage?
Bradley: Yeah, we just had a van with the door open.  They were riding, and we were as well, with the van door open, while we were tied up with rope around us, so we didn’t move about.  We just drove with them.        

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