Director's Works
Griffin Glendinning is a director whose creative journey began in the heart of Philadelphia. He first picked up a camera at the age of 15, capturing the energy of the Philly rap scene and its artists, a venture that soon led him to collaborations with record labels and major music events. Driven by a deep passion for the outdoors, Griffin transitioned his focus to the snow and water landscapes, discovering a unique connection to the ever-changing elements of these environments through the lens of his camera. His distinctive visual style, influenced by German expressionism, fuses abstract imagery with a symphony of sound and motion, creating an immersive, visceral, and timeless experience. Inspired by directors like Solomon Lighthelm, Christopher Nolan, and Leigh Powis, Griffin aims to tell important stories in non-traditional formats. He focuses on moments of self-interpretation, capturing details that encourage viewers to connect with the story on a personal level.
This project was just fun to create, we composed it utilizing two distinct visual mediums: 16mm film and a high-speed digital. For the creative, we shot almost entirely on a Bolex EL Mk I—one of the best run-and-gun 16mm rigs, perfectly suited for a project of this nature. The Bolex allowed us to work with minimal rigging and quick load/setup times, maximizing our shooting window. We still faced challenges, particularly in pushing the boundaries of what could be achieved without the latitude or attachment capabilities of a more studio-suited camera like the Arri 416 or SR3. But looking back, we were happy with the decisions we made to use the Bolex. For the entire piece, we shot on two glass elements. The Kern Vario-Switar 12.5mm-100mm f2 Multicoated Zoom Lens, and a Kern-Paillard 10mm Switar T1.6 with a 5mm Aspheron. The best wide-angle setup for a run and gun wide angle with little distortion. We were very grateful to have the support of Oldschool Cameras with everything equipment and film close by. In Stasis, the use of practical effects was central to creating an authentic experience for the audience. It felt essential to bring the surreal elements to life directly within the camera, reflecting the raw, unfiltered essence of the piece. Physically manifesting these effects on-screen was crucial to telling the visual story—I wanted every detail to feel grounded and real. One example is the mesmerizing effect of electric currents emitting from a flower petal. Using a Tesla coil, we placed a delicate flower stem through the coil rod to capture the electric discharge, causing the petals to emit subtle currents. This setup posed significant challenges, especially the need for indirect lighting in a natural setting to achieve the desired look on camera. Days of tests were conducted at home with the support of Gianni Giordano and Cooper Campisi to refine the technique. Another standout moment is the helix structure featured in the first vision sequence. Constructed entirely out of paperclips and rope, the structure was attached to a power drill to create a spinning, intricate helix form. This effect was inspired by Christopher Nolan’s hands-on approach in Oppenheimer, reflecting my goal of crafting surreal visuals that resonate on a personal level. The practical effects in Stasis embody the core themes of the film: finding profound meaning in humble, physical elements—much like nature itself. This simple, tactile approach connects the viewer to the raw and transformative beauty of the natural world.