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Junebug
2005
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Years active. 2004–present. Mike S. Ryan is an American film producer. He is most known for producing the indie hit feature Junebug, starring Amy Adams. Adams received a nomination for the 2006 Academy Award for Best Performance by an Actress in a Supporting Role, making it one of the most inexpensive films to ever receive a nomination.
Mike S. Ryan | Indie Film Producer | Greyshack Films. A B O U T. As a producer and executive producer, he has helped realize many groundbreaking films in the last twenty years, most made under $3 million. Notable collaborators include Kelly Reichardt and Todd Solondz.
Mike S. Ryan. Producer. Location Management. Actor. IMDbPro Starmeter See rank. Mike S. Ryan is known for Choke (2008), Meet Joe Black (1998) and Junebug (2005). Add photos, demo reels. Add to list. More at IMDbPro. Contact info. Agent info. Awards. 2 nominations. Known for. Choke. 6.4. Producer. 2008. Meet Joe Black. 7.2. Location Management.
- Producer, Location Management, Actor
- Mike S. Ryan
Aug 16, 2023 · January 26, 2017. 0 Comments. ( Premiering at the 2017 Sundance Film Festival, Beach Rats, Eliza Hittman’s second feature is a stunning portrait of a young man’s struggle to understand his emerging sexual identity. Our Mike S. Ryan was ultimately moved by the film but his personal responses to the film caused him to examine what worked and didn’t.)
- Silence.
- Varied Modes of Narration.
- Circular and Oblique plotting.
- Minimal plotting.
- A Varied Visual Personal Style.
- The Power of The Wide shot.
- Time’s Passage as Drama.
- Ambiguity.
- Active Viewing required.
TV is a dialogue-driven medium. In TV, the writer is king. In series TV, writers work under the guidance of showrunners to create overall series arcs. Individual writers distinguish themselves in the crowded writers room by writing dialogue that soars and leads to a dramatic dynamic between characters that otherwise would not be present. In TV, dia...
TV is primarily told from a third-person, objective point of view. A whole story told from the limited perspective of one character, or even more radically, from a narrator’s perspective — whose point of view may actually be unreliable or not shared by any one actual character — would be way too complicated to be carried through multiple TV episode...
Could you ever see The Maltese Falcon as a TV series? Audiences would never hang in for plot twists that in the end can’t be followed or don’t add up. If they would, as at least some part of its initial audience seemed to for Twin Peaks, it would be the rare exception. In the case of circular plotting, or what I like to call vortex plotting, the pa...
TV often sustains interest over multiple episodes through the device of the cliffhanger or dangling plot point. But if your drama has a minimal to flat plot arc, you have nothing to dangle. In order to entice viewers to return at the same time next week, or to binge on through, you need to dangle that plot point. And if you don’t have multiple plot...
Minimally plotted, ambiguously themed, interior-driven, atmospheric, ponderous, slow silent films with long takes and wide shots may sound like arthouse torture to some people, but those tendencies are only the most obvious examples of cinematic style. A true understanding of what makes cinema different than most TV has to do with an understanding ...
TV is primarily a medium tight-shot format. Wide shots tend to lose their power on the small screen, and they tend to release tension. For this reason it’s harder to maintain an atmospheric tone in TV than in film. This is in part what makes Twin Peakssuch a unique TV experience. Lynch managed to find a way to maintain a unique, dark, mysterious mo...
Long-form TV drama kicks film’s ass with regards to social-political historical epics that span multiple years. Due to the large amount of viewing hours it is able to marshal, television’s ability to produce awe-inspiring, epic historical tales is unmatchable. But, the feeling of experiencing time expanded, or contracted, within the shorter feature...
A major part of what it means to be alive is dealing with uncertainty. None of us really knows what is true, what is coming next and what it all means. Cinema has the ability to grapple with dramatic questions that do not reveal easy answers in an immediate spatial, physical way. The horror films of Val Lewton made frightening our not knowing what ...
TV still needs to treat the viewer as a passive couch potato. Although this is changing somewhat with shows that push the limits by featuring sympathetic antiheros, the format still is stuck with the notion that the audience can change the channel in a quick moment. Thus, there is less willingness in television to deal with unanswered or misleading...
Join us. Mike S. Ryan is the bold independent producer behind such remarkable and ground- breaking art-house films as Todd Solondz’s Palindromes and Life During Wartime, Bela Tarr’s Turin Horse, Phil Morrison’s Junebug, Kelly Reichardt’s Old Joy and Meek’s Cutoff, Rick Alverson’s The Comedy and Jake Mahaffy’s Free in Deed.
Mike S. Ryan is known for Choke (2008), Meet Joe Black (1998) and Junebug (2005).
