Director Joe Swanberg talks about film school, his favorite HD camera, shooting All the Light in the Sky in Malibu and building an audience for his films.
Joe Swanberg: I went to film school at Southern Illinois University, then moved to Chicago after graduation. My first job was with the Chicago International Film Festival, and I also worked a web design job while I was making my first two features.
By the way, what’s your favorite HD Camera and why?
Joe Swanberg: The camera that I worked with the most when I was building my career was the Panasonic HVX-200. I enjoyed boosting the gain, crushing the blacks, and really pushing the camera in low-light situations. I think it produces beautiful images, and I still love everything I shot with it.
What cameras were used to shoot your new film premiering at SXSW?
Joe Swanberg: “Drinking Buddies” was shot by Ben Richardson (Beasts of the Southern Wild) with the RED Scarlet and that was a lot of fun. I really love what Ben was able to do with the image. Capturing at 5K allowed me a lot of freedom with the image in post. I would like to work with the Alexa in the future. I hear it’s a great camera.
On one of your new films, “All the Light in the Sky”, you are credited as a writer, director, cinematographer, producer, and editor for this project. Could you describe how you approached each role in the process?
Joe Swanberg: I don’t separate the roles. I just dive right in and take care of problems as they arise. Shooting and editing are such an integral part of my direction on intimate projects like “All the Light in the Sky” that I’m naturally doing all of them at once. The shooting is based around editing decisions. My direction is influenced by the camera. It’s all pretty seamless, especially when I’m working with friends and people I’ve collaborated with in the past.
“All the Light in the Sky” was commended for its gorgeous outdoor shots. How did you approach working in an uncontrolled environment? Do you have a preference for working on location versus in a studio?
Joe Swanberg: I made a conscious effort with “All the Light in the Sky” to get outside. We were shooting in Malibu and I wanted to feel the influence of nature in the film. I don’t try and control the setting. I’m open to whatever is happening, be it rain, snow, bright sunshine, dark clouds. I work in such a way that I can incorporate anything into the films. I’ve spent so much of my career working indoors that it was nice to get outside for a while.
Do you enter the filming process hoping to achieve a certain “look”, or do you find the tone of the film develop as you work?
Joe Swanberg: There are usually some overall “look” things I decide on, for instance, which lenses to use most often, whether to shoot mostly in static masters or to do something more handheld and free, stuff like that. But once we start shooting, I’m open to changing my mind and letting the scenes dictate how I shoot.
If you could share a piece of advice with aspiring filmmakers around the world, what would it be?
Joe Swanberg: Be original! Make films that are true to you! And be prepared to make five films before anybody sees one of them. We’re in a period of tremendous creative output. As it has become cheaper and easier to make films, more people are doing it, so the ability to get your film seen is especially difficult right now.
Your best hope is to make something distinctive and honest, that only you could have made, and to keep working and working, slowly building an audience and forming relationships with people.
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