LOST IN LONDON was originally intended as a mash-up of Caitlin's adventure in London with Louis. Both are filmmakers who live in different countries, Caitlin aspires to be a filmmaker and takes inspiration from Louis among many people. The two of them, unknowingly document their adventures, that when it got to the editing stage, became a real nice combination of imagery, sound and narrative. Louis is inspired by Caitlin's youthful ways and though only slightly older feels inspired and motivated to influence the younger Caitlin. They had a larger-than-life project that was unforseen... however it is no doubt their story.

​Caitlin Leach is an aspiring British director from Southern France with influences such as Sofia & Gia Coppola prevalent throughout her work. She started out filmmaking recently and is known for her '36 Hours In Paris' which is a short documentary looking at Paris through a different perspective.

This article is from Filmmaker Magazine
​Carol is getting raves not just for Rooney Mara and Cate Blanchett’s subtle performances, but also for Ed Lachman’s cinematography, which was inspired by mid-century street photographers such as Ruth Orkin, Esther Bubley, Helen Levitt and Vivian Maier.In a first-person story for Indiewire, the veteran cinematographer, who has worked with Werner Herzog, Sofia Coppola, Todd Solondz, Robert Altman and Steven Soderbergh, writes about why he and director Todd Haynes chose to shoot the film in 16mm in order to achieve the look of 1952. “We wanted to reference the photographic representation of a different era,” Lachman said. “They can recreate grain digitally now, but it’s pixel-fixated. It doesn’t have this anthropomorphic quality in which the grain structure in each frame is changing.”
According to Lachman, “the actual physical grain of film adds another expressive layer that is impacting the surface of the characters’ emotional being. It has to do with how film captures movement and exposure in the frame — finer grain for highlights and larger grain for lower light areas — that gives a certain emotionality to the image that feels more human.”
He added, “I really believe with Carol that people would feel something different than if I had shot it digitally.”
Lachman earned an Academy Award-nomination for Far from Heaven, his first collaboration with Haynes, back in 2002. Since then, they’ve worked together on I’m Not There, Mildred Pierceand of course, Carol. All four films were shot on film.
The cinematographer, who was recently honored by the New York Film Critics Circle and the Boston Society of Film Critics for his work on Carol, talked further to Variety about his decision to shoot in 16mm rather than, say, 35mm.
“Even 35mm negative is so grainless that it almost looks digital when you go through a DI. And the same can be said obviously for the digital world,” explained Lachman. “When you shoot digitally they can add grain to the film, but it doesn’t operate the same way.”
According to Lachman, grain has an anthropomorphic quality. “I like to feel, like, a pulsing of something living underneath the surface of the image,” he said. “So by referencing Super 16 I felt it could harken back or it could give a reference to the way you could look at a photograph from 50 or 60 years ago, that the grain structure was different back then. And Super 16, through a DI, through a digital intermediate, would feel like looking at a photograph from the past. So that was the real idea. Then this feeling of another layer of seeing their emotions through grain captured, I thought, another emotional quality of their performance.”
Earlier this year at The New York Film Festival, Lachman chatted with NYFF Selection Committee member Amy Taubin about his love of film grain and why 16mm worked so well for the romantic drama. He also discusses why he used modern stock to create a period look and why he sometimes shot through glass or Plexiglass. “I limited the color palette of the film. We shot with a lot of magenta and greens and yellows. I was trying to shift the color spectrum of the film,” he explained.
Below you can watch his interview with Taubin courtesy of the Film Society of Lincoln Center.

See Carol in cinemas now!

​Produced by Louis Holder, Gaye Lockwood and John Holder for Illustration Web. Ltd and Louis Holder Films.

John Holder works in the classic tradition of humorous illustration dating back to Victorian times. Newspapers, magazines, ad agencies and big brands are all among his clients, and John was also responsible for the book GOD – Good Old Drawing, in 2012, which featured the work of 100 like-minded creatives. 

John loves old stuff in general – guitars, watches, bikes, and more – and lives in a 17th century home which also houses his studio. He helped set up the Cambridge Folk Festival 50 years ago, and played in one of the UK’s first Bluegrass bands. Every year he makes regular visits to Nashville, the home of the music he loves.

We're only a couple of months away and a bit until the 88th Academy Awards, and little over a month until the Official Nominations are announced but already the probable nominations list has taken form. We've been overwhelmed by the sheer volume of excellent films that have been released over the past year, so here's my verdict on what's hot and what's not so far, combining my own Awards Season analysis which I've been doing every year now for the past three years, my knowledge on the craft, the cast and filmmakers of each production and analysis from reputable sources. I've listed the Links to external sources i've referenced to influence my verdict at the bottom of this blog post. As all film fans know, the Academy never sleeps and buzz has already built around the possible contenders, now we must really look at what's on offer here

In the run-up to the big night, I'll be updating my predictions weekly having also considered the latest judgement and verdict online.
Best Picture - Spotlight, The Revenant, Tangerine, The Martian, Carol, Inside Out (a very close game, it could go to one of the films with more limited/niche distribution but have had critical acclaim such as Black Mass, Son of Saul..)
​
Best Director - Ridley Scott 'The Martian' (the favourite), Tom McCarthy 'Spotlight', Alejandro González Iñárritu 'The Revenant', George Miller 'Max Max: Fury Road' (all of whom are in close contention).

Best Actor - Leonardo DiCaprio 'The Revenant' (the favourite), Matt Damon 'The Martian' (closely fought), Michael Fassbender 'Steve Jobs', Johnny Depp 'Black Mass' (in close contention still), Eddie Redmayne (on paper, but less than likely), and not forgetting Tom Hardy 'Legend' and Jake Gyllenhaal 'Southpaw'.

Best Actress - Brie Larson 'Room' (the near-absolute lock), Saoirse Ronan 'Brooklyn' (dark horse #1), Cate Blanchett 'Carol' and Jennifer Lawrence 'Joy' (could still rally, if only they weren't nominated recently), if Rooney Mara 'Carol' is considered a lead she could rally for the Oscar title (dark horse #2).

Best Supporting Actor - Sylvester Stallone 'Creed' (the favourite), Michael Keaton / Mark Ruffalo 'Spotlight' (Not since 1991 — when Harvey Keitel and Ben Kingsley were both nominated for "Bugsy" — have two actors from the same film been nominated in this category - could this change that?). Also consider, Mark Rylance 'Bridge of Spies' and Tom Hardy 'The Revenant' (the dark horse of this category).

Best Supporting Actress - Alicia Vikander 'The Danish Girl' (the favourite), Rooney Mara 'Carol', Kate Winslet 'Steve Jobs', Jane Fonda 'Youth', Jennifer Jason Leigh 'The Hateful Eight'. Julie Walters 'Brooklyn' and Marion Cotillard (the dark horses).

Best Original Screenplay - Pete Docter, Meg LeFauve and Josh Cooley 'Inside Out' (the favourite, absolute lock). Possible contenders in this category include Tom McCarthy & Josh Singer 'Spotlight'. An Alternative pick that could still rally, even though it is a long shot - Amy Schumer's 'Trainwreck' (though it's highly unlikely, it has helped contribute to the redefining of gender & genre stereotyping in film this year, through it's writing). 

Best Adapted Screenplay - Aaron Sorkin 'Steve Jobs' (the favourite, though not so much the film), Nick Hornby 'Brooklyn', Emma Donoghue 'Room', Drew Goddard 'The Martian' and Phyllis Nagy 'Carol'.

Best Animated Feature - Inside Out (the favourite), The Good Dinosaur (another Pixar film which could work for or against Pixar's favour this season), The Peanuts Movie, Shaun The Sheep Movie.

Best Foreign Language Film - Son of Saul (Hungary, the favourite), Mustang (France), Labyrinth of Lies (Germany), The Club (Chile), The Second Mother (Brazil).

​Best Documentary Feature - Amy (for the past three years, the Oscar in this category has gone to the film everybody thought it was going to, remember Searching for Sugar Man and Citizenfour?). Main competition comes from Joshua Oppenheimer's sequel to The Act of Killing - The Look of Silence. What won't be sneaking in these honourable mentions are a shortlist of snubs (annoyingly); The Wolfpack, Iris, Finders Keepers, (T)error... 

Best Cinematography - Emmanuel Lubezki 'The Revenant' (the favourite, he's one two years in a row last year and the year before for Gravity and Birdman respectively) with main competition from Roger Deakins for Sicario. Also for consideration; Robert Richardson 'The Hateful Eight', John Seale 'Mad Max: Fury Road' and Edward Lachmann 'Carol'. Unfortunately we expect Macbeth (Adam Arkapaw) to be snubbed.

Best Film Editing - Margaret Sixel 'Mad Max: Fury Road' (the favourite), Pietro Scalia 'The Martian' and Michael Kahn 'Bridge of Spies' could also rally.

Best Production Design - Carol or Cinderella (both equal favourites, closely fought - though they couldn't be more different; a 1950s-set lesbian romance vs an adaptation of a Disney fairy tale). Mad Max: Fury Road and Crimson Peak and Macbeth as Dark Horses.

Best Costume Design - This year we can judge Best Production Design & Costume Design nominees in parallel since nom predictions are almost exactly the same, both work in harmony in the films mentioned above and there are others to notice to. Once again, Carol or Cinderella once again for the win. 

Best Original Score - The usual composers are at it again, making original scores, themes and songs for the best sounding movies of the year. After a grand 12 nominations, can Thomas Newman finally win for Bridge of Spies? Other contenders are Jóhann Jóhannson (Sicario), Carter Burwell (Carol), Alexandre Desplat (The Danish Girl) and John Williams (Star Wars: The Force Awakens). 

Best Original Song - It seems within recent years, the Original Song category noms are becoming populated by well... popular artists. For instance, Adele's platinum-selling James Bond theme for 2012's 'Skyfall'. This year the favourites to win are; One Kind of Love (Love & Mercy), Til It Happens To You (The Hunting Ground), and Simple Song #3 (Youth), although nothing memorable sticks out last year like 2013's Frozen song 'Let It Go'.

Best Visual Effects - 'Star Wars: The Force Awakens' (What will probably win), 'Mad Max: Fury Road' (the favourite to win, right now). Can Star Wars take down Mad Max and Jurassic World? Other contenders in the VFX arena are; Jurassic World, The Martian and though unlikely - The Walk, Everest and Tomorrowland.

Best Makeup & Hairstyling - Black Mass, The Danish Girl, Carol, Crimson Peak, Macbeth, Mr. Holmes
Best Sound Mixing - Mad Max: Fury Road, The Martian, Star Wars: The Force Awakens
Best Sound Editing - (same as above for Sound Mixing).