For a short film, “Night Shift” has a backstory of its own which gives more than the film’s glimpse into a day in the life of a bathroom attendant in a Los Angeles nightclub.
Filmmaker Marshall Tyler’s “Night Shift”, stars Tunde Adebimpe and is executive produced by JuVee Productions, the company founded by Viola Davis and her husband Julius Tennon established to empower diverse voices and emerging artists. It is produced by Moira Griffin, Efuru Flowers and Roberta Marie Munroe.
Watch the trailer here: https://vimeo.com/198757828
Marshall and I had a long conversation at the Yarrow in Sundance the day of the premiere of his film.
Let’s start with who you are…
Well, I was born in Philadelphia and raised in Hawaii and then moved to San Diego. I went to Howard University. Now I am based in La. My first documentary, “Skid Row”, followed Pras Michél,...
Filmmaker Marshall Tyler’s “Night Shift”, stars Tunde Adebimpe and is executive produced by JuVee Productions, the company founded by Viola Davis and her husband Julius Tennon established to empower diverse voices and emerging artists. It is produced by Moira Griffin, Efuru Flowers and Roberta Marie Munroe.
Watch the trailer here: https://vimeo.com/198757828
Marshall and I had a long conversation at the Yarrow in Sundance the day of the premiere of his film.
Let’s start with who you are…
Well, I was born in Philadelphia and raised in Hawaii and then moved to San Diego. I went to Howard University. Now I am based in La. My first documentary, “Skid Row”, followed Pras Michél,...
- 2/6/2017
- by Sydney Levine
- Sydney's Buzz
Beverly Hills — When sitting down for a "Blackhat" chat with director Michael Mann a few weeks ago, I had to ask him about the transition to digital filmmaking as an industry standard. Having already queried a number of our top cinematographers on the matter and written a piece about "Collateral's" legacy in that regard, and given the techno-drive of a movie like "Blackhat," it felt like territory worth digging into. And Mann digs in with intellectual ferocity, like anything else. "When I first shot some stuff digitally it was in 'Ali,'" he says. "We went on the roof of a building in Chicago, we had a couple of cameras and I took a flashlight, bounced it off a card and that was all the lighting. It was very little lighting. And it felt that what I saw was there was a truthfulness to the graphic that just blew me away.
- 1/17/2015
- by Kristopher Tapley
- Hitfix
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