94: Daniel Tantalean
Daniel Tantalean is the principle producer/director of his film production company, Formatted Pictures. His recent thesis film project, El Sueño played at Short Film Corner at Cannes International Film Festival. Tantalean strives to direct and produce social commentaries probing at the truth behind many social problems. He recently graduated from the Film and Media Production program at Arizona State University. He's been a driving force in a new film program -- directing, producing, working on, and helping to organize more than 55 student films in the last four years.
The last film you ...
cried during: Pan's Labyrinth. I cry every time I watch it. Emotionally, the film has a lot going on and it's just very tragic end with a lot of hope to compliment it.
laughed during: Amelie was the last film to make me laugh a lot.
fell asleep during: The Anti-Christ. I won't go into detail, but let's just
say I should have fell asleep for the brutal parts.
What was your last big project?
A student short thesis film called Sacrificios directed by Miguel Munguia. I was the producer and director of photography on the project. It's a great film, I am extremely proud of it and it's my best work to date as a director of photography.
What are you working on now?
I am working on several student thesis films at them moment. These are students at ASU who I have grown very close with and really help me through my time at the ASU film school and now it's their moment to shine. Right now, I am working on four student thesis films, I am producer for three: Erica Mazzella's The Terrible Life of Little Ghost, Tom O'Neill's Blind Date, and Nick Ramirez's The Bluewater Tale. I will be director of photography for Chris Meyer's Good Igunas.
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Craziest thing you've done with a camera:
For Nick Ramirez's short film Beautiful Addiction, we wanted this great big crane shot. So what we did was strap the camera to a ... well let's just say not so stable jib. We took the camera on this jib and placed it on the back of a pick up truck. We held the tripod down with sandbags and put the truck in neutral. Then we lowered the camera down to floor level with the jib and then we started pushing the truck as fast as we can. As we moved further away from the actor, we lifted the camera high into the air with the jib. It was bit risky, but the shot looked amazing.
The Creatives, so far: