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	<title>Filmmaker Magazine &#187; Directing</title>
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	<link>http://filmmakermagazine.com</link>
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		<title>Ten Lessons on Filmmaking from James Franco</title>
		<link>http://filmmakermagazine.com/71244-ten-lessons-on-filmmaking-from-james-franco/</link>
		<comments>http://filmmakermagazine.com/71244-ten-lessons-on-filmmaking-from-james-franco/#comments</comments>
		<pubDate>Tue, 21 May 2013 17:35:13 +0000</pubDate>
		<dc:creator>Ariston Anderson</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Danny Boyle]]></category>
		<category><![CDATA[Gus Van Sant]]></category>
		<category><![CDATA[Harmony Korine]]></category>
		<category><![CDATA[James Franco]]></category>
		<category><![CDATA[Judd Apatow]]></category>
		<category><![CDATA[Robert Altman]]></category>
		<category><![CDATA[Sam Raimi]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=71244</guid>
		<description><![CDATA[There’s a trend in actor-turned-director helmed films at Cannes this year, an impeccable direction of the people on screen. You can tell there’s a sense of trust and cohesive goal to create something great. One of the clearest examples of this is James Franco’s new feature film, As I Lay Dying, based on the great American classic by William Faulkner, the story of the death of Addie Bundren and her family’s quest to honor her wish to be buried in the town of Jefferson. The vivid characters have come to life on the big screen through Franco’s split-screen filmmaking, led by &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/71244-ten-lessons-on-filmmaking-from-james-franco/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>Kim Ki-Duk on Pieta</title>
		<link>http://filmmakermagazine.com/70832-kim-ki-duk-on-pieta/</link>
		<comments>http://filmmakermagazine.com/70832-kim-ki-duk-on-pieta/#comments</comments>
		<pubDate>Fri, 17 May 2013 19:58:26 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[drama]]></category>
		<category><![CDATA[Kim Ki-duk]]></category>
		<category><![CDATA[Pieta]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70832</guid>
		<description><![CDATA[Made quickly and on the cheap, prolific South Korean director Kim Ki-duk&#8217;s 18th film, Pieta, is an often disturbing revenge tale, moody and morally challenging, where redemption for one of recent cinema&#8217;s most dark-hearted anti-heroes seems just out of grasp. Kang-do (Lee Jung-jin) is a pitiless and anger-fueled debt collector for a equally brutal moneylender who specializes in forcing his often destitute debtors to commit insurance fraud in order to pay back what they owe him. Living a comfortless and filthy existence in the same slum as many of his victim, Kang-do has not a friend or a care in the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70832-kim-ki-duk-on-pieta/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Letters from Blocked Filmmakers: Michael Lew</title>
		<link>http://filmmakermagazine.com/70052-letters-from-blocked-filmmakers-michael-lew/</link>
		<comments>http://filmmakermagazine.com/70052-letters-from-blocked-filmmakers-michael-lew/#comments</comments>
		<pubDate>Tue, 14 May 2013 14:00:51 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Chantal Akerman]]></category>
		<category><![CDATA[Film Independent]]></category>
		<category><![CDATA[Letters from Blocked Filmmakers]]></category>
		<category><![CDATA[Michael Lew]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70052</guid>
		<description><![CDATA[Get together for drinks with a group of people who work in film, and soon the memories will flow. And they are usually linked to films these people have worked on. Film titles become markers of memory. It was on that film that this electrician met his future wife. On this one a P.A. adopted her dog. The sound guy was going through a divorce on this other one. The films may have faded from our collective memory, but the days on those sets are still ripe for the people who were involved. In reading this letter from Michael Lew, &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70052-letters-from-blocked-filmmakers-michael-lew/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>Sundance Institute Selects 2013 Directors and Screenwriters Lab Projects</title>
		<link>http://filmmakermagazine.com/70382-sundance-institute-selects-2013-directors-and-screenwriters-lab-projects/</link>
		<comments>http://filmmakermagazine.com/70382-sundance-institute-selects-2013-directors-and-screenwriters-lab-projects/#comments</comments>
		<pubDate>Thu, 09 May 2013 21:11:44 +0000</pubDate>
		<dc:creator>Billy Brennan</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Bart Layton]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[directors lab]]></category>
		<category><![CDATA[Eric Mendelsohn]]></category>
		<category><![CDATA[K'naan]]></category>
		<category><![CDATA[Meredith Danluck]]></category>
		<category><![CDATA[Ray Tintori]]></category>
		<category><![CDATA[screenplay writing]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[screenwriters lab]]></category>
		<category><![CDATA[Sundance Institute]]></category>
		<category><![CDATA[Vendela Vida]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70382</guid>
		<description><![CDATA[Sundance Institute announced the 13 projects selected for its annual June Directors and Screenwriters Labs, taking place at the Sundance Resort in Utah from May 27 through June 27. Under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program, and the artistic direction of Gyula Gazdag, the Fellows selected for this year&#8217;s program include emerging filmmakers and projects from the United States, Europe, Mexico, Peru and Somalia. Projects supported through the Directors and Screenwriters Labs receive continued, customized, year-round support from the Feature Film Program, which can include the following resources: ongoing creative and strategic advice, &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70382-sundance-institute-selects-2013-directors-and-screenwriters-lab-projects/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Letters from Blocked Filmmakers: Jessica Vale</title>
		<link>http://filmmakermagazine.com/70066-letters-from-blocked-filmmakers-jessica-vale/</link>
		<comments>http://filmmakermagazine.com/70066-letters-from-blocked-filmmakers-jessica-vale/#comments</comments>
		<pubDate>Tue, 07 May 2013 14:00:18 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[Jessica Vale]]></category>
		<category><![CDATA[Letters from Blocked Filmmakers]]></category>
		<category><![CDATA[Small Small Thing]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70066</guid>
		<description><![CDATA[Although the title of this column may make you think of &#8220;writer&#8217;s block,&#8221; filmmakers can be blocked by external forces as well as internal ones. In last week&#8217;s post, Drew Whitmire wrote about the internal factors &#8212; a relentless perfectionism and self-questioning &#8212; that have prevented him from finishing his first film. In today&#8217;s post, Jessica Vale writes about a series of events that brought her to Liberia to shoot footage about a medical mission there, a trip that led her to then embark on a larger feature documentary. But a number of factors stopped that feature in its tracks &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70066-letters-from-blocked-filmmakers-jessica-vale/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Big Data and the 25 Best Film Schools</title>
		<link>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/</link>
		<comments>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/#comments</comments>
		<pubDate>Mon, 06 May 2013 13:00:26 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[film school]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70100</guid>
		<description><![CDATA[Big Data — the term is everywhere right now. Sometimes used as a shorthand for the companies that are in the business of collecting, aggregating and sifting through large data sets (often comprised of personal info), it more properly refers to the data sets themselves — collections of information so gigantic they require advanced technologies to interpret. There&#8217;s much creepy potential in Big Data, but it is here to stay. The question, then, is whether the technologies of Big Data can be marshaled for progressive and creative goals. At Arts Fwd, Erinn Roos-Brown argues that arts organizations can learn from &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70100-big-data-and-the-25-best-film-schools/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Jared Moshe on Dead Man&#8217;s Burden</title>
		<link>http://filmmakermagazine.com/70015-jared-moshe-on-dead-mans-burden/</link>
		<comments>http://filmmakermagazine.com/70015-jared-moshe-on-dead-mans-burden/#comments</comments>
		<pubDate>Fri, 03 May 2013 19:54:22 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Dead Man's Burden]]></category>
		<category><![CDATA[Jared Moshe]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70015</guid>
		<description><![CDATA[Sumptuous and evocative, Jared Moshe&#8217;s Dead Man&#8217;s Burden is the rarest of species in specialty film, a Western. More importantly, it is a fine addition to the genre, a complex meditation on the wages of sin and the burdens of family, a chamber drama with more than a hint of noir. Set during the years after the Civil War in and around a rural New Mexican ranch, the film initially focuses on a young couple, Martha (Clare Bowen) and Heck (David Call). They plan to sell the ranch after the death of her father, a struggling farmer, and use the money &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70015-jared-moshe-on-dead-mans-burden/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Five Questions for Unmade in China Directors Gil Kofman and Tanner King Barklow</title>
		<link>http://filmmakermagazine.com/69720-five-questions-for-unmade-in-china-directors-gil-kofman-and-tanner-king-barklow/</link>
		<comments>http://filmmakermagazine.com/69720-five-questions-for-unmade-in-china-directors-gil-kofman-and-tanner-king-barklow/#comments</comments>
		<pubDate>Wed, 01 May 2013 15:00:14 +0000</pubDate>
		<dc:creator>David Licata</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Gil Kofman]]></category>
		<category><![CDATA[Pre-Production]]></category>
		<category><![CDATA[Tanner King Barklow]]></category>
		<category><![CDATA[Unmade in China]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69720</guid>
		<description><![CDATA[Screenwriter George Richards wrote Case Sensitive as “an American thriller with American actors for an American audience.” Director Gil Kofman (The Memory Thief) brought the script to producer Seth Scher, who had connections to a Chinese investor who was making films for the Chinese market. The film was greenlit and Kofman, who does not speak Chinese, traveled to Xiamen, China, to direct his second narrative feature. Soon afterward his friend, documentary filmmaker Tanner King Barklow, joined him and began documenting Kofman’s travails as he tried to navigate a colossal language barrier, bureaucracy, corruption, and cultural differences. Early in the documentary &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Letters from Blocked Filmmakers: Drew Whitmire</title>
		<link>http://filmmakermagazine.com/69595-letters-from-blocked-filmmakers-drew-whitmire/</link>
		<comments>http://filmmakermagazine.com/69595-letters-from-blocked-filmmakers-drew-whitmire/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 14:00:02 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Hybrid]]></category>
		<category><![CDATA[Letters from Blocked Filmmakers]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69595</guid>
		<description><![CDATA[Independent films get made, often miraculously, and we cover those films here at Filmmaker. But what about all those other projects that never, despite the best of intentions, make it through production, much less hit theaters? In this new series, &#8220;Letters from Blocked Filmmakers,&#8221; we&#8217;ll be hearing from directors who have struggled for years to realize their films only to come up short. Is the system to blame? Bad luck? Themselves? I&#8217;ll let the filmmakers answer these questions in their own words. I&#8217;m happy to be opening this series with this letter from Drew Whitmire, who has been attempting to &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69595-letters-from-blocked-filmmakers-drew-whitmire/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Terence Nance on An Oversimplification of Her Beauty</title>
		<link>http://filmmakermagazine.com/69321-terence-nance-on-an-oversimplification-of-her-beauty/</link>
		<comments>http://filmmakermagazine.com/69321-terence-nance-on-an-oversimplification-of-her-beauty/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 17:24:49 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[An Oversimplification of Her Beauty]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[drama]]></category>
		<category><![CDATA[Terence Nance]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69321</guid>
		<description><![CDATA[An Oversimplification of Her Beauty is such a fine, rare bird: Terence Nance’s Gotham Award-winning debut film is, regardless of its aesthetic pyrotechnics and self-reflexivity (it consists of a series of short experimental films that radically deconstruct Nance’s romantic foibles), wholly, fully, truly accessible to everyone. If Hollis Frampton and Nina Paley had somehow, through the force of magic realism, had a black love child, it would have grown up to direct something like this. It&#8217;s altogether unusual strategy for detailing Nance&#8217;s obsessive courtship of a young woman named Namik Minter — using reenactments, direct address, doc interviews, stop-motion and traditional animation to &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69321-terence-nance-on-an-oversimplification-of-her-beauty/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Graham Meriwether on American Meat</title>
		<link>http://filmmakermagazine.com/68439-graham-meriwether-on-american-meat/</link>
		<comments>http://filmmakermagazine.com/68439-graham-meriwether-on-american-meat/#comments</comments>
		<pubDate>Thu, 11 Apr 2013 13:34:48 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[American Meat]]></category>
		<category><![CDATA[Graham Meriwether]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68439</guid>
		<description><![CDATA[Even in the heart of the Midwest, where driving past rural pastures dotted with cows is not uncommon, I rarely thought of where my food came from. How often as a child or young adult, chomping on a spicy chicken sandwich from Wendy&#8217;s or slurping up Cincinnati-style chili at my mother&#8217;s dining room table, was I confronted intellectually with the fragility and inhumanity of our modern food production system, especially when it comes to the most popular proteins in the American diet, beef and chicken? I doubt a meal went by that wouldn&#8217;t cause my older self anxiety. It&#8217;s almost shameful &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Meet the Latest SFFS/KRF Filmmaking Grant Finalists (Part 3)</title>
		<link>http://filmmakermagazine.com/68246-meet-the-latest-sffskrf-filmmaking-grant-finalists-part-3/</link>
		<comments>http://filmmakermagazine.com/68246-meet-the-latest-sffskrf-filmmaking-grant-finalists-part-3/#comments</comments>
		<pubDate>Tue, 09 Apr 2013 19:30:36 +0000</pubDate>
		<dc:creator>Filmmaker Staff</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[A Chjana]]></category>
		<category><![CDATA[Dan Kern]]></category>
		<category><![CDATA[dare]]></category>
		<category><![CDATA[Jay Van Hoy]]></category>
		<category><![CDATA[Jonas Carpignano]]></category>
		<category><![CDATA[Leelai Demoz]]></category>
		<category><![CDATA[Maryam Keshavarz]]></category>
		<category><![CDATA[Paolo Marinou-Blanco]]></category>
		<category><![CDATA[Relapse]]></category>
		<category><![CDATA[The Last Harem]]></category>
		<category><![CDATA[Zeresenay Berhane Mehari]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68246</guid>
		<description><![CDATA[Last year on the Filmmaker website, we ran a series of pieces in which we profiled a group of finalists for the San Francisco Film Society’s Kenneth Rainin Foundation Filmmaking grant, run through the organization’s Filmmaker360 program. Now there’s a new set of finalists, and we are once again putting the spotlight on all those shortlisted for the grant. You can read Part 1 of this current series here and Part 2 of the series here. &#160; JONAS CARPIGNANO (WRITER/DIRECTOR), A CHJÀNA Synopsis: After leaving his native Burkina Faso, Ayiva makes the perilous journey across the Sahara and Mediterranean in search of a better life in Europe. Once in Italy, he &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68246-meet-the-latest-sffskrf-filmmaking-grant-finalists-part-3/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Antonio Campos and the Case of the Conscious Camera (A Mystery)</title>
		<link>http://filmmakermagazine.com/68010-antonio-campos-and-the-case-of-the-conscious-camera-a-mystery/</link>
		<comments>http://filmmakermagazine.com/68010-antonio-campos-and-the-case-of-the-conscious-camera-a-mystery/#comments</comments>
		<pubDate>Thu, 04 Apr 2013 13:00:59 +0000</pubDate>
		<dc:creator>Zachary Wigon</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68010</guid>
		<description><![CDATA[In a moment where American independent cinema seems to be primarily focused with character and regional setting, Antonio Campos stands in stark contrast with his peers. Concerned with intricate problems posed by framing, camera movement and editing, Campos used a formal investigation into the medium to guide him through his debut feature, Afterschool, which is a kind of materialist examination of how reality is affected by the digital representation thereof. With his latest film, Simon Killer, Campos is less concerned with a topical milieu than he is with the mental state of the troubled eponymous individual; in the process of &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>10 Lessons on Filmmaking from Director Ken Loach</title>
		<link>http://filmmakermagazine.com/67454-10-lessons-on-filmmaking-from-director-ken-loach/</link>
		<comments>http://filmmakermagazine.com/67454-10-lessons-on-filmmaking-from-director-ken-loach/#comments</comments>
		<pubDate>Wed, 27 Mar 2013 14:30:27 +0000</pubDate>
		<dc:creator>Ariston Anderson</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Berlinale]]></category>
		<category><![CDATA[Bread and Roses]]></category>
		<category><![CDATA[ken loach]]></category>
		<category><![CDATA[Kes]]></category>
		<category><![CDATA[Paul Laverty]]></category>
		<category><![CDATA[Rebecca O'Brien]]></category>
		<category><![CDATA[Riff-Raff]]></category>
		<category><![CDATA[Sweet Sixteen]]></category>
		<category><![CDATA[The Spirit of '45]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67454</guid>
		<description><![CDATA[Few filmmakers bring to life social issues as vividly as Ken Loach. Whether helming grand historical dramas about family, love and civil war (The Wind That Shakes the Barley, Land and Freedom) or character-driven films detailing the plight of the working class (Kes, Riff-Raff, Sweet Sixteen, Bread and Roses) Loach is a master of creating universal stories that are immensely relatable regardless of time or place. His latest effort, a documentary, The Spirit of ’45, which had its world premiere at this year’s Berlinale, continues the grand tradition with a story as relevant today as it was over half a &#8230;]]></description>
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		<slash:comments>20</slash:comments>
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		<title>Ginger &amp; Rosa Director Sally Potter on Taking Chances</title>
		<link>http://filmmakermagazine.com/66743-ginger-rosa-director-sally-potter-on-taking-chances/</link>
		<comments>http://filmmakermagazine.com/66743-ginger-rosa-director-sally-potter-on-taking-chances/#comments</comments>
		<pubDate>Tue, 12 Mar 2013 18:55:15 +0000</pubDate>
		<dc:creator>Allan Tong</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Ginger and Rosa]]></category>
		<category><![CDATA[Sally Potter]]></category>

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		<description><![CDATA[Sally Potter spoke to a sold-out, mostly female audience on a springlike afternoon in Toronto. She was the latest world-renowned director to sit in the interview at the TIFF Bell Lightbox, and she discussed with journalist Johanna Schneller her experiences and views on filmmaking while clips of her films burst on the screen including her latest, Ginger &#38; Rosa. The session started with a moment from her little-seen 1979 short, Thriller. It&#8217;s an experimental short consisting of grainy black-and-white photos married to the opera La Boheme and Bernard Hermann&#8217;s theme from Psycho. &#8220;The decisions I made were about trying to bring &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Su Friedrich on Gut Renovation</title>
		<link>http://filmmakermagazine.com/66674-su-friedrich-on-gut-renovation/</link>
		<comments>http://filmmakermagazine.com/66674-su-friedrich-on-gut-renovation/#comments</comments>
		<pubDate>Fri, 08 Mar 2013 20:13:54 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Gut Renovation]]></category>
		<category><![CDATA[Su Friedrich]]></category>

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		<description><![CDATA[&#8220;Gentrification is the opposite of the apocalypse. The apocalypse would pause history, level the built world to a pile of trash, and most likely lower rents considerably. Gentrification churns history forward, takes out the trash, carts away rubble, hides the poor, makes you work more and more to manage your rent, and encrypts the past, when you didn’t have to work so many jobs just to fucking live here, behind its glossy surfaces.&#8221; - Kristin Dombek, &#8220;How to Quit&#8221;, n+1 issue 15 Colson Whitehead, in an essay about how his adopted neighborhood of Fort Greene was changing and would continue &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Five Questions with A Fierce Green Fire Director Mark Kitchell</title>
		<link>http://filmmakermagazine.com/65752-five-questions-with-a-fierce-green-fire-director-mark-kitchell/</link>
		<comments>http://filmmakermagazine.com/65752-five-questions-with-a-fierce-green-fire-director-mark-kitchell/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 19:40:27 +0000</pubDate>
		<dc:creator>David Licata</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>

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		<description><![CDATA[In 1974, Francis Ford Coppola and the cast and crew of The Godfather Part II took over a Lower East Side block in Manhattan. An NYU film student and resident of that block, Mark Kitchell, focused his camera on the proceedings. The result, The Godfather Comes to 6th Street, was not a fluffy “making of” film but a document of the good, the bad and the ugly that happens when a film crew descends on a neighborhood. A portrait of a community, the film also captured the efforts of a group of local activists who objected to the film’s presence; &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Dan Sallitt on The Unspeakable Act</title>
		<link>http://filmmakermagazine.com/65850-dan-sallitt-on-the-unspeakable-act/</link>
		<comments>http://filmmakermagazine.com/65850-dan-sallitt-on-the-unspeakable-act/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 17:12:04 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Dan Sallitt]]></category>
		<category><![CDATA[The Unspeakable Act]]></category>

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		<description><![CDATA[With an exacting intelligence, a hyper-articulate quality that brings to mind the characters of American systems novels, Dan Sallitt&#8217;s The Unspeakable Act meditates on the burgeoning mutual attraction of two Brooklyn siblings in a manner that, while leaving many unsettled, has already marked his third feature as a potential breakout for the critic-filmmaker. The scions of an old-school Brooklyn bohemian writer, Jackie Kimball and Matthew Kimball (Tallie Medel and Sky Hirschkron) have long harbored a forbidden desire for one another, although it is most intensely felt on Jackie&#8217;s side. Medel&#8217;s big green eyes under dark, foreboding bangs fill in all the gaps &#8230;]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Director Keith Miller on Welcome to Pine Hill</title>
		<link>http://filmmakermagazine.com/65787-director-keith-miller-on-welcome-to-pine-hill-2/</link>
		<comments>http://filmmakermagazine.com/65787-director-keith-miller-on-welcome-to-pine-hill-2/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 15:30:09 +0000</pubDate>
		<dc:creator>Kevin Canfield</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Keith Miller]]></category>
		<category><![CDATA[Welcome to Pine Hill]]></category>

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		<description><![CDATA[Keith Miller readily admits that when he first tried to make a film he didn’t really know how to talk to actors. He wasn’t quite sure of himself. He thought he was doing a feature; he ended up with a film that was a half-hour long. But over the next few years he kept writing, kept shooting. After a time, he gained his footing, thanks in no small measure to the fellowship he found amongst the directors, writers and actors of the Brooklyn Filmmakers Collective. These days he’s confident enough in his vision — and his collaborators — that he &#8230;]]></description>
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		<title>Five Questions with Remedy Writer/Director Cheyenne Picardo</title>
		<link>http://filmmakermagazine.com/65342-five-questions-with-remedy-writerdirector-cheyenne-picardo/</link>
		<comments>http://filmmakermagazine.com/65342-five-questions-with-remedy-writerdirector-cheyenne-picardo/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 15:00:12 +0000</pubDate>
		<dc:creator>Lauren Wissot</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[BDSM]]></category>
		<category><![CDATA[Cheyenne Picardo]]></category>
		<category><![CDATA[CineKink NYC]]></category>
		<category><![CDATA[Remedy]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65342</guid>
		<description><![CDATA[Opening the 10th anniversary edition of CineKink NYC tonight is writer/director (and “habitual submissive”) Cheyenne Picardo’s Remedy, a look at the business side of BDSM through the eyes of a character crafted from Picardo’s personal experience Filmmaker spoke with the accidental director – who originally set out to be a critic – about converting a barn into a NYC dungeon, casting non-kinksters, and why Steve Martin’s The Jerk is more influential than Godard. Filmmaker: I noticed this quote from you in the press notes, &#8220;I&#8217;m hoping to demystify professional BDSM in a way that&#8217;s personal and accessible by showing it &#8230;]]></description>
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