Zal Batmanglij Bio, Age, Religion, Girlfriend, Net Worth And Movies

Zal Batmanglij Biography

Zal Batmanglij is an American film director and screenwriter. He directed and co-wrote the 2011 film “Sound of My Voice” and the 2013 film”The East” both of which premiered at the Sundance Film Festival, as well as the Netflix series The OA, which debuted in 2016.

Zal Batmanglij

 

Zal Batmanglij Career

In 2011, Zal Batmanglij’s debut feature, Sound of My Voice, co-written with Marling, premiered at the Sundance Film Festival. Shortly thereafter, Fox Searchlight Pictures purchased Sound of My Voice, as well as Batmanglij and Marling’s next feature script, The East.

Batmanglij also directed The East, starring Marling, Ellen Page, and Alexander Skarsgård. The film premiered at Sundance in 2013.

Batmanglij and Marling collaborated to create drama series The OA, which debuted in 2016 on Netflix. It was written by Marling and Zal Batmanglij, who produced the series along with Dede Gardner and Jeremy Kleiner of Plan B, and Michael Sugar of Anonymous Content.

Zal Batmanglij Age

Zal Batmanglij is an American film director and screenwriter. He directed and co-wrote the 2011 film Sound of My Voice and the 2013 film The East, both of which premiered at the Sundance Film Festival, as well as the Netflix series The OA, which debuted in 2016. He was born on 27th April 1980, in France, He is 38 years old.

Zal Batmanglij Religion

We are researching details about Zal Batmanglij religious belief and we shall post the update very soon.

Zal Batmanglij Images

Zal Batmanglij And Brit Marlin |Zal Batmanglij Brit Marling Couple | Zal Batmanglij Girlfriend

For two months in 2009, Brit and her friend Zal Batmanglij joined the show named’freegans’ who lived in tents on the street and ate food salvaged from rubbish bins indeed on their official website they describe their way of life as the ‘total boycott of an economic system where the profit has eclipsed ethical considerations’.

Of the experience, she said ‘We were young, hungry, and broke, and wanted to learn more about these ideas. We spent the summer traveling train hopping cross-country, living on organic farms—and fell in with anarchist collectives and freegan groups.

We were changed by that experience.’ The two made great contact when Brit was studying and The OA co-creator Zal Batmanglij also worked with her on 2007’s The Recordist, 2011’s “Sound of my Voice and 2013’s The East, while Mike Cahill collaborated with her on 2011’s Another Earth and 2014’s I Origins.

Brit denies the internet rumors of her and Zal Batmanglij having been, and indeed they are not dating. In fact, Brit is single as of now despite her and Mike Cahil having dated in the past.

Zal Batmanglij Pronunciation

How To Pronounce Zal Batmanglij

www.pronouncekiwi.com/Zal%20Batmanglij

Zal Batmanglij Net Worth

Zal Batmanglij is an American film director and screenwriter. He directed and co-wrote the 2011 film Sound of My Voice and the 2013 film The East, both of which premiered at the Sundance Film Festival, as well as the Netflix series The OA, which debuted in 2016. He has an estimated net worth of $4 million, as of 2019.

Zal Batmanglij Email

Zal Batmanglij Address information:

United Talent Agency

9336 Civic Center Drive

Beverly Hills, CA 90210-3604 USA

Phone: (310) 273-6700

Fax: (310) 247-1111

email: www.fanmail.biz/118183.html

Zal Batmanglij Girlfriend

Zal Batmanglij is gay,  together with his brother. Zal has said: “It’s awesome to be part of a gay family. Right now, my brother and I can focus on our work, our creative work, and our parents are part of that.” He was

Zal Batmanglij Ck One

The new worldwide advertising campaign for CK One was launched by Calvin Klein fragrance campaign and directed by Zal Batmanglij and shot by fashion photographer Willy Vanderperre.

The campaign features an international cast of models, many of whom have been seen in the CALVIN KLEIN 205W39NYC Spring 2018 runway show: Alec Pollentier, Alyssa Traoré, Ariel Nicholson, Ernesto Cervantes, Fernando, Jabali Sandiford, Jonas Glöer, Lulu and Wangy Xinyu.

It was originally launched in 1994, it helped redefine the boundaries of the modern fragrance because it blurred societal, gender boundaries and offered freedom from convention and the status quo, breaking of rules. The reinvention and renewal of this milestone continue to define contemporary times. Simona Cattaneo, Chief Marketing Officer, Coty Luxury

In his cinematic advertisement, The director allows viewers to follow the cast’s individual journeys, which finally end with everyone coming together.

Throughout the spot, voicemail messages of longing for connection accompany visuals of the CK ONE cast experiencing coming-of-age moments – exploring a warehouse party in Brooklyn, NYC; playing “spin the bottle;” daydreaming about a crush in a school locker room, and more. The story ends with the group coming together on an NYC rooftop.

The Print campaign, photographed by Vanderperre, carries the theme over to still imagery by capturing the CK one cast on a rooftop overlooking the iconic New York City Skyline, one of the most diverse and spirited places in the world.

Zal Batmanglij The East | Zal Batmanglij Director

The East is a 2013 American thriller film directed by Batmanglij and starring Brit Marling, Alexander Skarsgård, and Ellen Page. The two Writers spent two months in 2009 practicing freeganism and co-wrote a screenplay inspired by their experiences and drawing on thrillers from the 1970s.

The American studio Fox Searchlight Pictures had bought rights to distribute Batmanglij’s previous film “Sound of My Voice” and also collaborated with the director to produce The East. With Ridley Scott as a producer and Tony Scott as executive producer, Fox Searchlight contracted Scott Free Productions, headquartered in London, to produce the film.

The East was filmed in two months in Shreveport, Louisiana at the end of 2011. The film premiered to strong reviews at the 2013 Sundance Film Festival on 20th January 2013. It was released in theaters on 31st May 2013.

Zal Batmanglij Nominations

Independent Spirit Award for Best First Feature

2013 · Sound of My Voice

Gotham Independent Film Award for Breakthrough Director

2012 · Sound of My Voice

Writers Guild of America Award for Television: Episodic Drama

2018 · Homecoming

Zal Batmanglij Movies

  • The East 2013
  • Sound of My Voice 2011

Zal Batmanglij Interview

Marling and Zal Batmanglij, discuss the complex production process behind the series, they analyze some of the show’s more complex themes, take a deep dive into some of the show’s most popular theories, reminisce on the creative progression of their 18-year relationship, and more.

First of all, congratulations on finally completing what is, by all accounts, the monumental undertaking that was the second season of ‘The OA.’ How long did it take you two to write ‘Part II?’

Zal Batmanglij: So, we get greenlit at the beginning of February of 2017. And then, we come to San Francisco, because we have an idea that we want to set it here. Brit and I spent two weeks here, and then we formed an outline and pitched that.

We put together a small writing group, and we spent the whole summer writing. We wrote 400 pages, which was crazy(laughter) because if we were setting aside to write a feature, we’d probably give ourselves six months. In three months, we wrote 400 pages.

And then, right away, we started pre-production. We started building sets, coming up here to scout and scouting from Los Angeles. Usually, for a medium-sized feature, you’re doing eight weeks of prep, and in that same period, we’re prepping eight hours.

And the only reason we can pull it off is that we have this amazing crew working. Aida Rodgers and Sarah Esberg from Plan B. Our AV. Steven Meizler, our DP. Just an amazing group of people come together. And, of course, Brit [laughter].

Marling: We have each other, too. We all love each other.

Zal Batmanglij: And we’re involved of every aspect of that stuff. The scouts can show us a convenience store in Chinatown to be the store that Karim (Kingsley Ben-Adir) meets Donald (Van Brunelle) in front of. But it’s Brit who fights for things like, “No, Donald is Vietnamese.

So it has to be Little Saigon. So we go to Little Saigon.” We try to get those details right, and we’re like pushing for things that we really don’t have the time to do. [laughter] And then, we start shooting in January.

Marling: We shot from January to the beginning of June. And then we start editing. And then, you have a similar crunch because if you were editing a feature, you’d have six months. You’re basically making four features in the time that you would normally make one.

Zal Batmanglij And this thing have 1,600 visual effects. So, getting all those visual effects right, we had great partners, amazing people that we were working with. We were very grateful.

Marling: Very lucky. But it’s a long process, and we’ve had an amazing amount of creative freedom at Netflix and incredible support from everybody we work with there. Otherwise, it wouldn’t be possible, and also wouldn’t be desirable. You would just say, “Why am I doing four times the work every two years?”

Zal Batmanglij: And we still say that [laughter], but it’s only possible because we have those good partners.

That is a hell of a process. Brit, as someone who wears multiple hats on this project, what’s the most difficult part of bringing “The OA” to life?

Zal Batmanglij: Oh, I’m curious to hear this [laughter].

Marling: Different problems at different times. When I’m wearing the show creator hat, it’s really a problem of stamina. By the time you’re in month eight of the edit, your body is so depleted from the experience of doing all that writing in four months, the experience of acting, which is so physically exhausting when you’re spending days in a harness in the air or you’re spending days in a tank underwater (laughter) fighting for air. When you get to the end of a five-month shoot like that, as an actor, you normally collapse. And you’re done.

Zal Batmanglij: You go on vacay (laughter).

Marling: Instead, for us, I get to the end of that period, and it’s like, “And now the race against the clock has begun. Now we have all this footage. How are we going to re-write the narrative based on what we actually have instead of what we imagined we could get?” That part of it is the most challenging from the show creator hat.

From the acting side, the hardest thing is knowing that at any given point in time, no matter how much time you’ve spent acting, you’re always in danger of being phony or telling a lie.

And that really keeps me on my toes. A lot of professions have this experience-grade. The more time you spend doing heart surgery, the more you’ve encountered certain problems, certain things, you get better at being a heart surgeon.

Acting is so interesting because, to me, that relationship doesn’t necessarily exist. You’re always equally capable of coming into a scene and, for whatever reason, because you’re tired, because you’re confused, because of not sitting and listening and being present and responding in real-time to somebody, you’re always in danger of doing that. So, (laughter) there is a vulnerability there that never goes away.

Zal Batmanglij: It’s like heart surgery meets tight-rope walking.

How did this wonderful, collaborative relationship begin? What is it about the two of you that makes you work so harmoniously together

Zal Batmanglij: Well, at this point, it’s how it gets done. I mean, it would be very hard to do this by yourself. It’s just too massive an undertaking to do it by yourself. So it’s–

Marling: It’s interesting, sometimes, when I think of the Duffer Brothers [creators of “Stranger Things“], I’m like, “Oh, it’s interesting that they’re doing something in a similar way.” Telling an eight-hour narrative. And it’s no accident that it’s the two of them.

Zal Batmanglij: Yeah. A lot of our other counterparts just write it or they just direct it. Very few do both like the Duffers do both. And then, [laughter] almost nobody adds acting to that. I mean, this is the one-hour drama space, no one does that. In the comedy space, it’s more common.

Zal Batmanglij: We met in college. We came from different walks of life. We have different minds or upbringings, but we have a few key points that are the same, which is that there is a shorelessness to our imagination.

And we share that in common. It’s like this place we meet at. It’s like meeting in a physical place, except it’s a cerebral place. We meet in this imagined space, and we’ve been meeting there so long now, like 18 years, at first, it’s uncomfortable, it’s vulnerable, it’s all those things.

Now, we can meet there pretty quickly, and it’s calming and relaxing and a refuge. So, it’s good. And then you undercut the pleasures of that with all the intensity and hard work of craftsmanship. The rest of our work is just a craft. The imagination part’s really fun, but the craft part is hard.

Marling: It’s so true what you’re saying. And the question becomes, “Can you get good enough at the craft to take what you’ve come up within the Venn Diagram of our imaginations meeting where you can deliver writing, acting, directing, (and) storytelling as purely as we feel it there.

Zal Batmanglij: And also, you hope that someone underwrites it, will make it happen, and that’s a really cool moment in time. When we started writing this story, there was no place that would’ve made something this wild. And Netflix hadn’t even made “House of Cards” yet. And even when “House of Cards” came out, it’s so blue chip, that it’s not gonna be confused with “The OA” (laughter).

We set sail without a port to go to, and the port appeared. But if the port hadn’t appeared, we wouldn’t be able to make this experience.

Marling: Yeah, we’d just be at sea by ourselves (laughter), all alone. Which would be fine too.

The location-scouting for Part II and the use of setting to advance the plot is impeccable. Was San Francisco always a location that you had planned to set Part II from the get-go when creating the show?

Marling: One of the things we had definitely planned from the get-go is the idea of a narrative that was interested in genre slipstreaming. Part of that just came as a reaction to what it feels like to be alive right now in the world. It feels like we’re literally genre slipstreaming.

You wake up in the morning and the sun is coming through your window, and you’re moving through your routine, and you feel like you’re in a romantic comedy, and then you like go online, and you read some article about something that’s happened, and you’re like in a horror film.

The internet has created this fractured sense of reality in which you’re constantly inside different genres in a day. So, I think we were really interested in that feeling, that undercurrent.

And when we were designing the labyrinth of “The OA,” we plotted out all the twists and turns of it and what the center would be that you could arrive at before we ever wrote the first chapter. Part of that was the idea that ‘Part II’ would continue the narrative and answer a lot of the questions that part one raises but inside a different genre. And the genre that we were interested in was the noir.

Zal Batmanglij: And we started trying to find a definition for noir. And our favorite definition was a gangster movie without the gangsters because it’s the idea that it’s not just killing one bad guy or two bad guys, but it’s a whole city is to blame.

Like the way Los Angeles is in “Chinatown,” or San Francisco “The Maltese Falcon.” We came up here to explore, and, man, is this city rife with a lot of anxiety and weird currents and pressures. And people were really kind to us.

Marling: And San Francisco, as the epicenter of tech, seemed like a very interesting place to set a noir and to explore these ideas of, “How has technology infiltrated our lives? What aspects of it are good, but what are aspects are corrupt? What are we really letting in when we invite the smartphone into our lives?” They didn’t sell (the smartphone) to us as what it really is.

They were like, “Here, we’re going to sell you a phone,” and so we all took the phone, thinking “Yeah, we love to call people.” But it’s really a tiny computer. Nobody sold it to us as tiny computers. So, now we all have a tiny computer with us all the time, and that changes how we think, it changes how we imagine, it changes how we treat people.

Zal Batmanglij: How we treat ourselves.

Marling: How we think of ourselves.

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