Coodie Simmons is a filmmaker known for his distinctive style characterized by a raw and intimate approach to storytelling. With a background in music videos, documentaries, and sports content, Simmons has developed a unique cinematic language that combines elements of vérité filmmaking, stylized visuals, and authentic human emotion.

One hallmark of Simmons’ style is his use of vérité techniques, which prioritize capturing unscripted moments and genuine interactions. This approach imbues his films with a sense of immediacy and realism, allowing viewers to feel like they are experiencing events alongside the subjects. Simmons often employs handheld cameras and natural lighting to further enhance this sense of intimacy, creating a fly-on-the-wall perspective that invites audiences into the world of his subjects.

In addition to vérité techniques, Simmons is known for his innovative visual storytelling. He frequently incorporates stylized cinematography, dynamic editing, and creative use of music to enhance the emotional impact of his films. Whether he is capturing the energy of a live performance or exploring the personal struggles of his subjects, Simmons’ visual style is both immersive and evocative, drawing viewers deeper into the narrative.

Simmons’ background in music videos has also influenced his filmmaking style, particularly in his use of music as a narrative tool. He has a keen ear for selecting tracks that complement the tone and themes of his films, using music to underscore emotional moments, drive the pace of the story, and create a sense of atmosphere. This synergy between image and sound is a defining characteristic of Simmons’ work, elevating his films beyond mere documentary into the realm of cinematic artistry.

One of Simmons’ most notable projects is the documentary film “A Kid From Coney Island,” which chronicles the life and career of former NBA star Stephon Marbury. In this film, Simmons employs his signature vérité style to provide an intimate portrait of Marbury’s journey from humble beginnings to basketball stardom. Through a combination of archival footage, interviews, and vérité scenes, Simmons captures the highs and lows of Marbury’s career with honesty and depth, painting a nuanced portrait of a complex and enigmatic figure.

In addition to his work in documentary filmmaking, Simmons has also directed narrative projects that showcase his versatility as a filmmaker. Whether he is telling real-life stories or crafting fictional narratives, Simmons’ commitment to authenticity and emotional honesty remains constant. His films are imbued with a sense of humanity and empathy, inviting audiences to connect with the characters and themes on a deeply personal level.

Overall, Coodie Simmons’ filmmaking style is characterized by its rawness, intimacy, and emotional resonance. Whether he is capturing the thrill of victory on the basketball court or the quiet moments of introspection behind the scenes, Simmons approaches each project with a commitment to truth and authenticity that shines through in every frame. Through his innovative visual storytelling and keen sense of narrative, Simmons continues to push the boundaries of documentary filmmaking, creating work that is both compelling and unforgettable.

In this screen shot you can see the structure of a section of the film, with the green being the underscore as well as the darker blue being other types of audio, the solid blue blocks are the different videos.

In this screen capture you can see how i have layered the different audios to create an ambient score throughout with Jamies dialogue and different environmental sounds layered on top, the use of the underscore can create a narrative within itself and i wanted to partially explore that using a song that slowly builds up until the end.

And like my case study documentary by Coodie Simmons, i wanted to use editing to portray part of the narrative so that is what i tried in my film.

Femininity Vs Masculinity

For this project I went in with the idea of identity devoid of gender and also beauty standards and the subsequent insecurity that comes with living in a society with such high standards.

I knew from the start that I wanted to mainly photograph my friends who are all more typically feminine and have experienced insecurities of some kind. Along with taking to photos to then be painted over I wanted to take photos that made my friends feel beautiful in the process and how I see them externally outside of their own criticism of themselves.

First Photoshoot

The first Photoshoot was inspired by Sian Davey’s ‘Martha’ work. Davey focuses mainly on her daughter in her life and out with her friends I wanted to do the same when taking pictures on a day out at the beach mainly focusing on my friend Keira.

I think when looking at my images compared to Davey’s work they effectively convey the intimate feel and exploring the personality of my friends, however I do wish I could’ve also taken more images in different situations to further explore my friends interaction with the world.

Second Photoshoot

The second photoshoot was by far my favourite and I think the most effective inspired by Sian Davey’s the garden and Tom Hunters work recreating classic paintings. It was taken in the grass land at Gorey

Photoshoot 1

First photoshoot taken on the west side of the island with the intent of getting pictures of the ocean and grounding a general aesthetic that I like for my images, I wanted to focus on isolating and empty spaces- empty pebble beaches / large stretches of ocean / stranded boats. All to create an alienating atmosphere.

Photoshoot 2

A continuation of the first photoshoot getting pictures of open space + old boats.

Photoshoot 3

Focusing on making images relating to Francesca Woodman. with varying backgrounds.

Photoshoot 4

Images of my face made in studio to be used for photo manipulation.

Editing

When editing I had a particular pastel blue value I wanted to achieve throughout the images – very much inspired by the aesthetic values of Laura Letinski.

For the Francesca woodman inspired Images I switched them all to black and white to better mirror her work, I think it made the blurring from the slow shutter speed more obvious without getting lost in colour.

“I was inventing a language for people to see the everyday things that I also see, and show them something different” Francesca Woodman