![]() ![]() He is drawn to dark, even horrific stories but they are always grounded in a deep complex emotionality. The neo-noir elements appealed and I thought it was a good match for Jim’s strengths. Moran: In 2007, right after Jim completed his first film Mulberry Street, which I also produced, he introduced me to the book Cold in July by Joe R. The couple has worked together on several films, and Cold in July is their second film to premiere at Sundance (after last year’s Sundance at Midnight premiere of We Are What We Are ).įilmmaking: Why this movie? Why did you decide to do it? She walked me toward the edit suits in the back of the loft-like space and introduced me to Cold in July director Jim Mickle, who has also been Linda’s partner for over a decade, as he was putting some finishing touches to his film. Linda promptly introduced me to the office mascots: her dogs Zombie and Coco who insisted on being part of the shoot (you try refusing those pleading eyes). Her film Cold in July, which she produced, was speedily getting picture locked for Sundance and her office, that she runs with fellow producer René Bastian, was abuzz with activity and inclusiveness: it has what I call the “Google Effect” – which is to say that the office is so cool and fun to work in, employees love coming to work. ![]() When I walked in to photograph Linda Moran at her office at Belladona Productions in Chelsea, she was on the phone making magic happen. “That was a real 4-H club and those kids,” Reisman revealed, “those are their rabbits.In Interviews, Sundance, Sundance FeaturesĬold in July, Linda Moran, Sundance Film Festival 2014, Women of Sundance How do you wrangle a dozen 20-pound bunnies to sit quietly? ![]() He invites her to a rabbit-handling workshop. “Leave No Trace” sees Tom enchanted by “civilization.” She meets the boy on the farm next door whose pet is a huge rabbit. If I had seen this maybe I would have understood perhaps better.’ ” screening, a teary-eyed a woman said, ‘My brother came back and killed himself. “When his daughter is in the farm cabin and Will has gone to get provisions, she finds an article about a squad where its members had committed suicide. “Debra and Ben spent a lot of time discussing his character but didn’t feel it was necessary to explain. Without specific references to war, loss or trauma, the audience comes to understand taciturn Will is coping with PTSD. “Leave No Trace” marks co-writer-director Granik’s first film since 2010’s “Winter’s Bone,” which garnered Jennifer Lawrence her first Academy Award nomination for best actress.įoster’s character, Will, is a veteran who lives off the grid with his 13-year-old daughter, Tom (New Zealand’s Thomasin Harcourt McKenzie). And the idea of acceptance and the way people choose to live is something Debra (Granik) is concerned with.” “With the book, we thought the father-daughter bond was so strong. They were examined by social services, brought to a farm and then disappeared. ![]() “It was about a man and his daughter living in a nature preserve in Portland for many years who were discovered by the authorities,” Reisman said. Peter Rock’s 2010 novel was inspired by a newspaper article in The Oregonian. “Leave No Trace” began when Reisman and producing partner Anne Harrison optioned “My Abandonment” prior to publication. PODUCER LINDA MOVIE“These films take a long time,” acknowledged Boston-based Reisman, who, in addition to real-world movie producing, is Emerson College’s senior distinguished producer-in-residence. Friday’s “Leave No Trace,” loosely inspired by a real event and starring Boston native Ben Foster (“Hell or High Water,” “Lone Survivor”), was another yearslong odyssey. Before “The Danish Girl” won Alicia Vikander a best supporting actress Oscar, Linda Reisman had spent 12-13 years bringing it to the screen. ![]()
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