#sam lisenco

[sesiondemadrugada]

May December (Todd Haynes, 2023).

[vibe-stash]

Uncut Gems (2019)

Directors: Benny Safdie, Josh Safdie DOP: Darius Khondji Production Design: Sam Lisenco

[luckypluckychair]

Frances Ha | 2012

Director: Noah Baumbach

Production designer: Sam Lisenco / Set decorator: Hannah Rothfield

[of-fear-and-love]

Interiors from Mistress America (2015)

Production design by Sam Lisenco Art Direction by Ashley Fenton Set Decoration by Katie Hickman

[byneddiedingo]

Greta Gerwig in Frances Ha (Noah Baumbach, 2012)

Cast: Greta Gerwig, Mickey Sumner, Michael Esper, Adam Driver, Michael Zegen, Charlotte d’Amboise, Grace Gummer. Screenplay: Noah Baumbach, Greta Gerwig. Cinematography: Sam Levy. Production design: Sam Lisenco. Film editing: Jennifer Lame. 

Frances Ha succeeds at what I think it sets out to be: an affectionately amusing look at what an earlier generation called Yuppies -- except that Yuppies seemed to have a much easier time of integrating themselves into adulthood than the Gen Y or Millennial characters in this film. Greta Gerwig, who co-wrote the screenplay with Noah Baumbach, is charmingly awkward as Frances -- whose last name doesn't come from the frequently ironic interjection of "ha ha" in her conversations but from the truncation of her full surname, Halladay, that's revealed at the film's end. Frances is a would-be modern dancer trying to make it in New York even though her talent is, well, marginal. As a result, she's dependent on a collection of friends, including her fellow Vassar alum, Sophie (Mickey Sumner). But when Sophie and others in her life start finding their way in the world, clumsy, agreeable Frances begins to fall behind. If some of this reminds you of the HBO series Girls, and not because both the film and the series feature Adam Driver in a key role, it's not surprising. It's the same set: young middle-class white people in downward mobility when compared with their parents. We meet Frances's parents -- played by Gerwig's own parents, Christine and Gordon Gerwig-- when she goes home to Sacramento for Christmas, a sequence probably designed to remind us why Frances prefers to struggle in New York than to settle for security in a less competitive milieu. Too much of this sort of generational comedy can wear out its welcome, but Frances Ha is so unpretentious -- except perhaps for Baumbach's decision to film it in black and white as an hommage to Woody Allen's Manhattan (1979)-- and Gerwig so skillful at creating Frances, that you can't help liking it.

[nofatclips]

Woman by Karen O & Danger Mouse - Directed by Spike Jonze live at the Late Night Show with Stephen Colbert

[pinthismovie]

'Kajillionaire' Review: Miranda July’s Film Is Weird But A Healer for Our World

‘Kajillionaire’ Review: Miranda July’s Film Is Weird But A Healer for Our World

Writer/director Miranda July’s first film in nearly a decade “Kajillionaire” is quirky and bizarre in a beautiful way, and it brings Evan Rachel Wood’s remarkable star power to a whole new level.

The film is emotional and eye-arresting. It re-defines the world “normal” as of July questions us the meaning of family and ourselves. Most of the time, we forget the importance of being alive,…

[filmographyyy]

Epiphany moment:

The Chinatown apartment that Frances Ha moves into was actually Greta Gerwing’s apartment at the time sharing it with set designer Sam Lisenco and film producer Oscar Boyson  ….

[icollectimages]

Good Time (2017)

Country: United States

Directed by: Benny & Josh Safdie

Written by: J. Safdie & Ronald Bronstein

Cinematography by: Sean Price Williams

Edited by: Bronstein & B. Safdie

Produced by: Oscar Boyson, Sebastian Bear-McClard, Paris Kasidokostas Latsis & Terry Dougas

Music by: Daniel Lopatin

Production Design by: Sam Lisenco

[glenngaylord]

13 GOING ON 14 – My Review of EIGHTH GRADE (5 Stars)

When WELCOME TO THE DOLLHOUSE came out in 1996, I loved it, but my friend Vicki called it “hateful and heinous”.  Her words stuck with me all these years, despite my continued appreciation of that film. How could she not see what I saw? Well, it took 22 years, but I think I understand now after seeing EIGHTH GRADE, a kinder, gentler, but still edgy cousin to Todd Solondz’s film.  Written and directed by first timer Bo Burnham, who’s only 14 years out of eighth grade himself, the film feels simple yet is one of the most gorgeously acted, emotionally connected films of 2018.  

Starring Elsie Fisher (remember that name) as Kayla, we stay close and tight on this withdrawn, pimply-faced sweetheart who aches to connect with others as she makes her way through her last year of Junior High. For much of the film, it’s a losing battle as she gets ignored by almost everyone despite her attempts to fashion herself into a YOUTUBE star complete with the adorable constant sign-off, “Gucci!”.  Living with her single father Mark (Josh Hamilton), a Dad also desperate to make human connections, she prefers to ignore him and bury her face in her phone.  Like many teenagers, she crushes hard on the wrong person, played to disaffected perfection by Luke Parel, who wins the “Best Eyes” prize in school, but a real turd lies beneath his blue peepers.  She also tries to make friends with the cool girls, but they just can’t be bothered.  

Every moment of this film rings true, with Burnham making sure to favor real reactions instead of the hyped-up ones we’re used to seeing in the genre.  The YOUTUBE clips cleverly serve as our narration as Kayla imparts life lessons which she thinks she’s practicing but more often fails miserably. Kayla’s journey of self-awareness is a joy to behold, watching her slowly making baby steps towards self love. Burnham uses a wonderful motif throughout of her shattered iPhone screen, which she tosses across the room in a moment of panic. Its ever-growing cracks represent the character’s downward slide beautifully.  Same goes for the gloriously in-your-face electronic score by Anna Meredith.  It’s big, bold and loud, perfectly reflecting how every little moment is huge to a teen.  Most indies go the acoustic folk route, but EIGHTH GRADE is special.  It truly understands its main character and I loved going along for the ride.  

Burnham also works wonders with a Time Capsule motif, which pays huge emotional dividends at the end. I was reminded of those big crying moments on RUPAUL’S DRAG RACE when Ru holds up each Queen’s childhood photo and asks them to give advice to their younger self.  In EIGHTH GRADE’S case, the payoff had me crying harder than a hundred Eurekas and Sasha Velours combined.  

EIGHTH GRADE looks and feels real, from its unassuming cinematography by Andrew Wehde to its production design by Sam Lisenco.  Everything is in service of its main character, never calling attention to itself.  It’s how film storytelling should be.  My old friend Dan Fisher was the Prop Master on the film, and just one look inside Kayla’s Time Capsule will convince you of the love and care spent on getting inside Kayla’s head.  

At the screening I attended, Burnham told us that Kayla’s dialogue was written down to every “um” and “like”.  It’s an impressive feat considering how true everything feels.  And just when everything feels hopeless for our little heroine, in comes a mentor, beautifully realized by Emily Robinson (TRANSPARENT), who offers a perspective-changing experience for Kayla. It’s one of the most lovely sequences I’ve seen in a film in ages, acting as the perfect exhale to the prior torment she suffers.  Speaking of which, you won’t soon forget an ominous scene in the back seat of a car, where the emotional violence of it feels harsher and more sustaining than anything physical.  This scene was reminiscent of one from THE EDGE OF SEVENTEEN, although Hailee Steinfeld’s character could articulate her feelings better than the younger Kayla.  

While Elsie Fisher delivers an unforgettable performance, I can’t say enough about Josh Hamilton, an actor who despite a long career, has never really registered for me, until now. It’s a difficult, rich role, allowing him to be the “Dad-joking” parent while also delivering harsh truths and in one sensational scene, pouring out his deep love for his daughter.  Another three hankie moment.  

This instant classic definitely delivers on all counts.  It even gives the audience that revenge fantasy scene in which Kayla gets to finally shout down her enemies, but it does so with all of the awkward, stymied force of a real 13 year old.  It’s charming, heartwarming without being maudlin, funny as hell, and incredibly empowering for all.  I think my friend Vicki will agree with me on this one, finally!!

[sesiondemadrugada]

Good Time (Benny & Josh Safdie, 2017).

[luckypluckychair]

Frances Ha | 2012

Director: Noah Baumbach

Production designer: Sam Lisenco

❃ Panton chair designed by Verner Panton in 1959

❃ Ovalia chair designed by Henrik Thor-Larsen in 1968

❃ Cesca armchair designed by Marcel Breuer in 1928

[incatalogueanpic]

Production designer and repeat Safdie Brothers collaborator Sam Lisenco talks to us about gaining trust in Manhattan’s insular Diamond District, reinforcing Adam Sandler’s character through design, and how the film became a love letter to a disappearing New York The post Creating the intense world of Uncut Gems appeared first on Creative Review. In ấn Anpic In nhãn mác Anpic In brochure Anpic In card visit Anpic In catalogue Anpic In thiệp cưới Anpic In tờ rơi Anpic In Ấn Anpic – Nổi Tiếng In Đẹp In Nhanh Số 5 Ngõ 75 Nguyễn Xiển, Thanh Xuân, Hạ Đình, Hà Nội 0963223884 baogiainananh@gmail.com https://anpic.vn https://g.page/inananpic In nhãn mác Anpic ✅ In brochure Anpic ✅ In card visit Anpic ✅ In catalogue Anpic ✅ In thiệp cưới Anpic ✅ In tờ rơi Anpic https://anpic.vn/in-nhan-mac-dep https://anpic.vn/in-brochure https://anpic.vn/in-an https://anpic.vn/in-voucher-in-phieu-giam-gia-khuyen-mai #inananpic In Ấn Anpic – Nổi Tiếng In Đẹp In Nhanh Số 5 Ngõ 75 Nguyễn Xiển, Thanh Xuân, Hạ Đình, Hà Nội 0963223884 baogiainananh@gmail.com https://anpic.vn https://g.page/inananpic In nhãn mác Anpic ✅ In brochure Anpic ✅ In card visit Anpic ✅ In catalogue Anpic ✅ In thiệp cưới Anpic ✅ In tờ rơ In Ấn Anpic – Nổi Tiếng In Đẹp In Nhanh Số 5 Ngõ 75 Nguyễn Xiển, Thanh Xuân, Hạ Đình, Hà Nội 0963223884 baogiainananh@gmail.com https://anpic.vn https://g.page/inananpic In nhãn mác Anpic ✅ In brochure Anpic ✅ In card visit Anpic ✅ In catalogue Anpic ✅ In thiệp cưới Anpic ✅ In tờ rơi Anpic https://anpic.vn/in-nhan-mac-dep https://anpic.vn/in-brochure https://anpic.vn/in-an https://anpic.vn/in-voucher-in-phieu-giam-gia-khuyen-mai #inananpic

[byneddiedingo]

Good Time (Josh Safdie, Benny Safdie, 2017) Cast: Robert Pattinson, Benny Safdie, Buddy Duress, Taliah Webster, Jennifer Jason Leigh, Barkhad Abdi, Necro, Peter Verby, Erik Paykert. Screenplay: Ronald Bronstein, Josh Safdie. Cinematography: Sean Price Williams. Production design: Sam Lisenco. Film editing: Ronald Bronstein, Josh Safdie. Music: Daniel Lopatin. Connie Nikas is a hoodlum with no redeeming qualities other than that dogs like him and that, in his criminal way, he's devoted to his mentally challenged brother, Nick. And that he's played by Robert Pattinson, which goes a long way in the raucous, often appalling, frequently hilarious Good Time. Pattinson's performance in the movie, like the later performances of Kristen Stewart, almost makes me want to check out the Twilight movies that brought them to fame -- a fame they've been trying to unburden themselves from ever since by working with highly independent directors like, in Pattinson's case, the Safdie brothers. At the film's start, Nick (played by Benny Safdie) is in a psychiatrist's office, reacting with paranoia and incomprehension to the therapist's questions and his note-taking, until Connie breaks into the session to take him away. The next thing we see, the brothers are robbing a bank. The theft and its aftermath are staged like a caper thriller, but with an overlay of pain because we're aware of how Connie is exploiting his brother for his own ends. And that mixture of pain and comedy persists throughout the film as Connie keeps screwing up and improvising more ingenious ways to get out of what he's screwed up. We can't really like Connie -- he's too much of a hoodlum for that, and he gets too many innocent people swept up in his manipulations -- but we have to have a kind of perverse admiration for his ingenuity. And that's where Pattinson's skill as an actor, reinforced by his good looks, works to keep us off balance. It helps, too, that an even worse hoodlum, Ray (Buddy Duress), gets caught up in Connie's misadventures, serving as a despicable foil. The Safdies and cinematographer Sean Price Williams ground the film's knockabout story in some very real Queens locations.

[lesterplatt]

CTCP "Brain Poison" from Floyd Russ on Vimeo.

Director Cut.

Agency: Duncan Channon DP: Albert Salas PD: Sam Lisenco Music: Victor Magro, Future Perfect Edit: Robert Ryang, Cut + Run Styling: Natalie O'Brien LP: Patrick Malloy Production: Tool of North America