https://www.newyorker.com/culture/richard-brody/joe-swanbergs-thesis-of-short-filmmaking-in-season-2-of-easy - "Joe Swanberg’s Thesis of Short Filmmaking in Season 2 of 'Easy'"
https://www.youtube.com/watch?v=KjardOXx1uw - 10 questions for Joe Swanberg
https://www.irishtimes.com/culture/film/joe-swanberg-still-the-maestro-of-mumblecore-1.2042590 - "Joe Swanberg: still the maestro of mumblecore"
Used improv to avoid cliches and unoriginality but forces him to think of spot and allows actors to own caracter more
- seeing anecdotes lyrically and giving them a sort of harmonic structure that serves as an invigorating basis for improvisation
- elevate his stories’ emotional clarity and directness into a kind of offhanded complexity.
- wanberg builds “Easy” around various communities, neighborhoods, and milieux of that city, featuring a wide range of characters and activities — and the best of them are reflexive and personal in a distinctive new way.
- Like Agnès Varda, he’s a gleaner of encounters and observations, and, like Varda, he’s a philosophical chameleon who coaxes a sharp-lined identity and a distinctive world view from his varied round of incidental associations.
- In each episode, Swanberg’s performers are alive to the moment; they seem to be speaking rather than acting. There’s none of the clatter-clatter-snippy-snip patter that actors rattle off in so many series, the sort of lockstep scripting and patterned expressivity that so often turns television fiction into tasteless fakery.
- Swanberg often did his own camera work and lighting, and his compositional sense was sometimes impetuously freehanded, sometimes drastically static. For “Easy,” the cinematographer is Eon Mora, whose work is fluid, alert, and graceful
- Swanberg’s best features are composed of moments between moments; they allow for both physical and dialectical meandering, moments of gradual accretion and sudden discovery
- mumblecore (" coined by sound editor Eric Masunaga in 2005") - "micro-budgets, incremental drama, conversation-driven realism, an aversion to swoony cathartic moments and (the clue is in the title) real-world sound"
- Other practitioners include: Mark Duplass(director of Jeff Who Lives at Home), Lynn Shelton(of Say When)
- Founders of mumble-core (met at SxSW film festival): Andrew Bujalski (Mutual Appreciation), Jay and Mark Duplass (The Puffy Chair), Swanberg (Kissing on the Mouth)
- "role models like Spike Lee, Jim Jarmusch, Hal Hartley, Quentin Tarantino, Kevin Smith."
- "they got together with their friends and made a movie"
- in 2007, the IFC centre did a series of films that really cemented the word and the idea of a community. And from there it genuinely became a community. Real collaborations came about
- spin-off movements, notably mumblegore. The mumblecorps would soon be seen drifting in and out of each other’s films and final credits, as actors, producers, writers.
- 2010, just before Swanberg and his wife Kris had their first child, the writer-director made six feature films.
- bittersweet dramedy Drinking Buddiesstarred Olivia Wilde and featured on Quentin Tarantino’s top films of 2013 list. His new feature, Happy Christmas, is populated by Anna Kendrick, Lena Dunham and Melanie Lynskey.
- What I do borrows a lot from documentary film-making. I just thought that if I go in with broad ideas ... and allow the actors to do what they wanted and follow them around without putting words in their mouth, I might get something interesting.”
- This is not new territory for Swanberg, who has explored female friendships many times across the 17 feature films he has written and directed since 2005.
- “It’s curiosity on my part,” he says. “I don’t know what it’s like to be a woman, so that’s the stuff that I’m most interested in exploring. Right now, sadly, there aren’t too many stories about women. So I feel like I’m playing in a corner that nobody’s paying attention to. It gives me a lot of space to stretch out and learn something.”
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