In response to the COVID-19 crisis, Vice TV has ordered Shelter in Place with Shane Smith, a new half-hour weekly interview show hosted by the Vice Media Group founder. It’s set to premiere Thursday, April 9 at 10 PM with two back-to-back episodes.
In the series, produced through remote video interviews from Smith’s home in Santa Monica, Smith will tackle the biggest questions of the moment with experts from the fields of science, journalism, entertainment, food and economics.Vice Media
“I'm at home, you're at home and our news cycle is changing by the minute,” said Smith. “So, I decided to dial up some of the world's foremost thinkers to offer us some much needed perspective and get to some truth on what we should be doing in this time like none other.” You can watch a preview clip below.
Smith’s first guest will be whistleblower Edward Snowden, who delves into the world of surveillance, privacy and our future civil liberties as international governments and autocratic regimes enact bold, new policies to curb the virus.
“When any of us look at where this is heading, we need to think about where we’ve been,” said Snowden. “And sadly, these kind of emergency powers that are born out of crises, have a perfect history of abuse”.
The second episode will feature California Governor Gavin Newsom who speaks to Smith about how his state has braced for the pandemic, where the federal government has stumbled, and what is coming next. Dr. Anne Rimoin, a world-leading epidemiologist, is also featured and will speak to how the virus has spread and what we can do about it.
Produced by Vice TV, Shane Smith, Alex Chitty, Maral Usefi are the Executive Producers for Shelter in Place. Jonah Kaplan is Supervising Producer.
Shelter in Place will be available on Vice TV via all major satellite and cable providers; ViceTV.com; and the Vice TV app via iOS, Android, Apple TV, Roku, and Chromecast. The first two episodes will be available for free on Vice & Munchies YouTube page.
Shelter in Place with Shane Smith is the latest programming from Vice TV produced in response to COVID-19. Vice Quarantine Hour is a limited variety series airing weekdays at 8 AM ET/PT. Vice TV's Emmy-winning nightly newscast is airing dedicated COVID-19 episodes with Vice News Tonight: Remote.
The “hidden man” is how editor Lee Smith sees himself in 1917. Not for a second did Smith want audiences paying attention to his cuts or tricks, but to instead immerse themselves in director Sam Mendes‘ World War I story, which is constructed to take place in one seemingly unbroken take. Despite the obvious technical wizardry and razzle-dazzle, they pulled it off. Audiences were caught up in the feeling and exhilaration of 1917, not the craft of 1917.
The war pic isn’t the first time Smith and Mendes collaborated. The two worked together on Spectre, which involved a long take that gave the editor and filmmaker some ideas of how to accomplish 1917. Outside of Smith’s collaborations with Mendes, he’s edited several Christopher Nolan films, Master and Commander: The Far Side of the World, and an underrated gem from the early 2000s, Buffalo Soldiers.
Recently, Smith spoke to us about his intense work on 1917, a few of the movie’s standout sequences, and doing what hasn’t been done before.
Congratulations on the movie. I think it’s an incredible accomplishment.
Thank you. I was definitely the hidden man on that one if I did my job correctly.
That’s what you always want anyway, right?
It’s impressive how you can admire the craft while watching it, but not in a way that makes the movie feel artificial.
That was the thing we always spoke about. The film itself had to be front and center. We never really wanted anyone thinking about how it was made while watching it because our leading thought was just making a great story with great performances. That’s what we were aiming for. As we started to test screen the movie, we realized we achieved that. A lot of people around us were talking about the technique before we started screening, so I’d go, “We gotta stop banging on about technique and make sure the movie works.” As soon as we started screening it, we realized everything is working and all the audience can do is talk about the film. That’s exactly what we wanted to do.
You were editing as they were filming and on the set often. Usually, you have so much time to decide on a take, so how intense was moving at that speed?
Yeah, you could say you’re flying by the seat of your pants. Every day I would watch the shoot the day before the shoot, which could run for two hours worth of material and 39 takes for big sequences. I’d have to talk to Sam in the morning. He’d tell me what he likes, I’d tell him what I like, and we’d ask each other why we liked certain takes. It was a fun conversation, but we had to make up our minds because they were setting up for the next shot.
Generally speaking, you want the shot you’re...