教育のためのグローバル検索: 宇宙での人間関係の探索: WadeBE へのインタビュー

投稿者 C言語. M. ルービン 8月上 8, 2024

今月, 観客はスクリーニングすることができます Death of a Star 聴衆は学生の心の調整をスクリーニングすることができます. この映画は、KIDS FIRST によって Planet Classroom Network のためにキュレーションされました。! 映画祭.

Death of a Star is directed by WadeBE and written by Shantel Neo. This film explores the emotional bond between two NASA engineers working on a Mars rover. Set in the NASA Houston Space Center, it highlights their personal connection and the wonder of space exploration, blending human emotion with cutting-edge science. 教育のためのグローバル検索 is pleased to welcome WadeBE.

ウェイドビー, the film’s ending shots are visually stunning. Can you talk about your choice to use black and white effects and how you achieved such clear quality?

The inspiration for the black and white photo roman at the end of the film is an homage to my favorite short film of all time, La Jetée, directed by Chris Marker. In his film, Marker tells the entire story in stills except for one small portion, which consists of dissolves leading into a brief glimpse of 24fps. 私にとっては, this effect creates a timeless feeling and reminds us that sometimes a slower, provocative pace can be just as effective at creating catharsis. Especially for lower-budget independent films, it’s important to find creative and cost-effective ways to leave lasting images in your audience’s mind, and I hope this montage was successful in doing that. We shot them on 35mm B&W film on a fully manual still camera and had them further graded for effect. To help blend the transition, we added touches of grain to the digital moving images where appropriate.

The unpredictability of the storyline is one of its strengths. What was your process for crafting the narrative, particularly the reveal of the engineers’ アイデンティティ?

過去のために 20 年かそこら, every film seemed to demand a “twist” of some kind. I sort of resented this and felt that it was getting less and less authentic when audiences were always waiting and expecting a twist and largely basing the film on how well this twist surprised them. 従って, as you mentioned, it was more unpredictability that we were striving for in the story. Nothing is meant to be too much of a shock in the film, and we purposely left out sound cues that would normally motivate that response so that the information just seemed matter-of-fact. The fact is that some of our dreams have to end; we can’t do it all, and it’s not entirely in our hands. We wanted a story where the hero didn’t succeed against all odds, but instead found acceptance with his temporary defeat and even embraced that he could still have a positive influence before he departed. 同様に, even if I never achieve huge success as a filmmaker, I still wish to impart a positive message to the next generation. The final reveal is left a bit up to audience interpretation: Are the elders the mentors to the main characters, or are they the characters themselves one day? New stars are formed from dying stars, and the cycle repeats ad infinitum.

The actors deliver strong performances. What was your experience working with them, and how did you direct them to achieve such authenticity?

I have worked with Eben Mahan my entire filmmaking career, and we went to high school together. As for Angie Sandoval, she and the other senior actors were found through our amazing casting director, Demetria Dixon. Our production company, 0.51 Productions, works with over 50% women and people from diverse backgrounds, so it was important for us to tell a story with equal representation. They already came with tons of background in theater and other acting experiences such as commercials, so I had my work cut out for me. We wanted to cast an “everyman” とともに “rising star,” and Eben and Angie filled the shoes perfectly. I actually made the mistake of telling the actors to make their performances more theatrical in later takes, and sure enough, it was the earlier takes I ended up using where the actors were following their own instincts and authenticity, so I give lots of credit to them. I just had a few quirky things I insisted upon, such as having Angie’s character, Ellie, lean way over to grab the mini planetarium or nudging the drink in Alex’s face. While these moments are a little silly, I feel that minor character traits can help add some realistic human randomness to the dialogue.

The film carries a meaningful message about learning from mistakes and moving on. What do you hope audiences take away from Death of a Star?

There were a lot of different approaches taken on this film. In some ways, it was a love letter to NASA; in other ways, it was just a simple story of a guy stepping down for his younger, more talented protégé. It’s kind of for the viewer to decide what hits home most with them based on their perspective of gender, background, そして、関心. うまくいけば, we are taught some good lessons from our elders, which help us in tough times to respond well to our failures and mistakes. But if we haven’t been told that, then maybe we can be the ones to pass along the torch of humility. My generation was largely told we were “特殊” and we could do anything that we set our minds to, but what was missing was how much work it would take, how luck plays a factor, and how we actually learn more from failure than from success. Life has a way of teaching us these lessons anyway if we’re open to the universe, しかし、関係なく、, I hope audiences can enjoy the small journey they go on in Death of a Star and feel that they have got a tiny glimpse into the magic that NASA Houston Space Center passed on to me as a kid and still continues to pass on to this day.