The Orchard

Eye Piece: Spherical Lenses and Calculated Color Choices Allowed the Visuals of Birds of Passage to Take Flight

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On the Money: The Director of Holly Star Breaks Down How Budget Consciousness Can Make or Break Your Production

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We the Animals Director Jeremiah Zagar Discovered His First Narrative Feature in a Bookstore and Shot it on 16mm

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True Crime, New Fiction: Form Follows Fiction’s Function in Bart Layton’s Hybrid Docudrama, American Animals

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Exclusive: And Then I Go Takes on Violence and Alienation in American Schools (Video)

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Outside In: Lynn Shelton and Jay Duplass on Rehearsals, Sex Scenes, What They Learned Working in TV, and More

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Exclusive: Nick Thune and Kaily Smith Westbrook Trip on the Digital Age in This Clip From People You May Know (Video)

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Embrace Horror and Horror Will Embrace You: Patrick Brice and Mark Duplass’ Intro to MM’s 2018 Horror Guide

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Eye Piece: Mirrors, Neon Signs and Other Lighting Tricks Create Disorientation in DP Peter Flinckenberg’s Woodshock

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Total Transparency: My Film Bread and Butter Has Almost Recouped Its Expenses—With These Revenue Streams

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Things I’ve Learned as a Moviemaker: Anthony Bourdain

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All Under One Roof Raving: How Michal Marczak Made All These Sleepless Nights With 3-D-Printed Gear and ADR

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Frame of Mind: Watch How Kris Avedisian Made His Awkward Lead Relatable in This Donald Cried Scene (Video)

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How to Get More From Actors: Rainbow Time’s Linas Phillips Asked Jay Duplass, Melanie Lynskey and More

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Moviemaker’s Third Annual Guide to Digital Distribution

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Success in Digital Distribution: A Conversation with The Orchard

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