Preston Miller’s God’s Land walks a fine line between satire and earnestness.
Summer is officially over and all the kids are going back to school.
Lichman & Rizov “Live” at Grassroots Tavern: Season 4, Episode 1, “They Fuck Babies on the 4 Train, Don’t They?”
Now then, listen. It’s a bit of a long one, so we even have a special intermission break for you.
The House Next Door is proud to present the first trailer for Preston Miller’s new feature film, God’s Land.
Day sixteen is easily, without a doubt, the worst and most painful day of shooting on God’s Land.
We are over halfway through shooting God’s Land now—and seeing light at the end of the tunnel for some of our principal actors.
The heart of the film is in the domestic scenes between the husband and wife.
The kid is standing there punching my hand over and over again, monitoring his breath.
We are approaching the middle of our shooting schedule, and finally making some headway.
Still and all, Preston is in full-on Captain Ahab mode and remains undeterred by the struggle.
Like most of the others working on God’s Land, I have a day job that has nothing to do with filmmaking or entertainment.
Even the trip to Long Island where we were shooting our scenes felt a little traumatic.
The 8-year-old boy, Matthew, is clutching his mother’s sleeve tight and holding her hand. He looks very pale.
This podcast commemorates the one-year-anniversary of Preston Miller’s Jones.
Miller discusses Jones and his other film work, including the upcoming God’s Land.
Well, this week we address the letting go of Nathan Lee and some of our favorite—ok, the Zodiac one—articles he’s penned.
Whenever the film’s observational aesthetic threatens to become too distanced and clinical, Miller throws a wrench in the works.