<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Filmmaker Magazine &#187; Filmmaking</title>
	<atom:link href="http://filmmakermagazine.com/category/filmmaking/feed/" rel="self" type="application/rss+xml" />
	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
	<lastBuildDate>Wed, 22 May 2013 19:14:59 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.5.1</generator>
		<item>
		<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>0</slash:comments>
		</item>
		<item>
		<title>Canadian Web Series Creators Organize</title>
		<link>http://filmmakermagazine.com/70882-canadian-web-series-creators-organize/</link>
		<comments>http://filmmakermagazine.com/70882-canadian-web-series-creators-organize/#comments</comments>
		<pubDate>Mon, 20 May 2013 15:42:27 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Canada]]></category>
		<category><![CDATA[Independent Webseries Creators of Canada]]></category>
		<category><![CDATA[networking]]></category>
		<category><![CDATA[web-series]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70882</guid>
		<description><![CDATA[Transmedia producers in Canada already have ways to network with and benefit from each other through organizations like the Toronto-based group Transmedia 101. But those specifically interested in creating web series just received an additional resource with the formation of the Independent Webseries Creators of Canada (or IWCC; CIWC in French). Serendipitously coinciding with the announcement of the Vancouver Web Fest, the IWCC is a nonprofit professional association that sees today&#8217;s web producers like the television pioneers of the 1940s and 50s: building a new branch of the entertainment industry in uncharted waters, but this time doing so in a &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70882-canadian-web-series-creators-organize/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<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>
		</item>
		<item>
		<title>Turning the Internet Green: The FX Protest</title>
		<link>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/</link>
		<comments>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/#comments</comments>
		<pubDate>Fri, 17 May 2013 14:49:09 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[FX Protest]]></category>
		<category><![CDATA[Life of Pi]]></category>
		<category><![CDATA[visual effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70788</guid>
		<description><![CDATA[Over the past few months it&#8217;s been hard to miss the green icons showing up on Twitter and other social media in support of the FX Protest, an event that happened at this year’s Oscar ceremony to protest ongoing problems in the VFX industry. While movies continue to make great use of visual effects, the companies that create these effects are being financially stressed and are going out of business. To find out more about what’s been going on in the VFX industry, we spoke to Michael Scott, a VFX compositor who has been working in the industry for the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Crowdfunding a Transmedia Phenomenon: Director Nicolás Alcalá on The Cosmonaut</title>
		<link>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/</link>
		<comments>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/#comments</comments>
		<pubDate>Thu, 16 May 2013 18:46:12 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[crowdfunding]]></category>
		<category><![CDATA[Nicolas Alcala]]></category>
		<category><![CDATA[The Cosmonaut]]></category>
		<category><![CDATA[transmedia]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70585</guid>
		<description><![CDATA[With all the discussion about the future of Kickstarter in recent weeks, it may be appropriate that a film that began its campaign at the beginning of the crowdfunding movement is finally coming out this Saturday. The Cosmonaut &#8212; a Spanish-made English-language film directed by Nicolás Alcalá and produced by Carola Rodriguez and Bruno Teixidor &#8212; raised over €300,000 from 5,000 contributors. It was the first crowdfunded film in Spain and helped pave the way for the foundation of Lánzanos, Spain&#8217;s Kickstarter equivalent. The Cosmonaut will be available to watch for free on Saturday on the film&#8217;s website; the DVD, theatrical &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Will Tom Wheeler Kill Net Neutrality?</title>
		<link>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/</link>
		<comments>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/#comments</comments>
		<pubDate>Thu, 16 May 2013 18:19:26 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[net neutrality]]></category>
		<category><![CDATA[Tom Wheeler]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70414</guid>
		<description><![CDATA[“I am in this race to tell the corporate lobbyists in Washington that their days of setting the agenda are over.” Guess who said these memorable words? In November 2007, then-presidential candidate Barack Obama uttered this now all-but-forgotten campaign promise. The president recently announced his plan to appoint Tom Wheeler (above), a true industry insider, to head of the Federal Communications Commission (FCC). Wheeler is a career water carrier for corporate interests. He served as head of the National Cable Television Association (NCTA) from 1979 and 1984, and ran the Cellular Telecom and Internet Association (CTIA) from 1992 through 2004. &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>The New Digital Storytelling Series: D. Fox Harrell</title>
		<link>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/</link>
		<comments>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/#comments</comments>
		<pubDate>Thu, 16 May 2013 15:21:01 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Fox Harrell]]></category>
		<category><![CDATA[GRIOT]]></category>
		<category><![CDATA[Mimesis]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70611</guid>
		<description><![CDATA[In the penultimate part of Filmmaker and the MIT Open Documentary Lab&#8217;s interview project with prominent transmedia figures, D. Fox Harrell, Ph.D., Associate Professor of Digital Media in the Comparative Media Studies Program and the Computer Science and Artificial Intelligence Laboratory at MIT, answers our questions. Harrell&#8217;s research explores the relationship between imaginative cognition and computation. He develops new forms of social media, gaming, computational narrative, and related computational media systems based in computer science, cognitive science, and digital media arts. The National Science Foundation has recognized Harrell with an NSF CAREER Award for his project &#8220;Computing for Advanced Identity Representation.&#8221; He has worked &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70611-the-new-digital-storytelling-series-d-fox-harrell/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Shooting Richard Linklater and James Benning</title>
		<link>http://filmmakermagazine.com/70581-shooting-richard-linklater-and-james-benning/</link>
		<comments>http://filmmakermagazine.com/70581-shooting-richard-linklater-and-james-benning/#comments</comments>
		<pubDate>Wed, 15 May 2013 14:37:12 +0000</pubDate>
		<dc:creator>Gabe Klinger</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[James Benning]]></category>
		<category><![CDATA[Richard Linklater]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70581</guid>
		<description><![CDATA[Gabe Klinger is currently running a Kickstarter campaign for his documentary on directing legends James Benning and Richard Linklater. Below he talks about the experience of working on the project. My first encounter with Richard Linklater was through his Dazed and Confused. The film was of meteoric importance to me and my junior high peers. The soundtrack, which revived forgotten tunes by War and Foghat, got more play on our boomboxes than the Dr. Dre, Nirvana and Mariah Carey hits of the day. When a friend&#8217;s mom busted me for stealing her pack of smokes, I told her Dazed and &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70581-shooting-richard-linklater-and-james-benning/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>When Life Gives You Lemons: An Unexpected Crowdfunding Success</title>
		<link>http://filmmakermagazine.com/70547-when-life-gives-you-lemons-an-unexpected-crowdfunding-success/</link>
		<comments>http://filmmakermagazine.com/70547-when-life-gives-you-lemons-an-unexpected-crowdfunding-success/#comments</comments>
		<pubDate>Wed, 15 May 2013 14:00:37 +0000</pubDate>
		<dc:creator>Mike Newman</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70547</guid>
		<description><![CDATA[Call me crazy, but I have a feeling that I am sitting on a niche documentary goldmine. It’s titled Nuts: The Best Damn Fans In The Land. It will be about Buckeye Nation, which is the cultish fandom of The Ohio State University. I’ve never been more certain of a project&#8217;s potential success than this one. However, my past attempts at trying to get it funded tell a much different story. For almost a decade I failed to obtain funding for this golden project. Then a miracle happened, which I will get to in a moment. Buckeye Nation is the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70547-when-life-gives-you-lemons-an-unexpected-crowdfunding-success/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<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>
		</item>
		<item>
		<title>Richard Dutcher on Project 23 and The Boys at the Bar</title>
		<link>http://filmmakermagazine.com/70438-richard-dutcher-on-project-23-and-the-boys-at-the-bar/</link>
		<comments>http://filmmakermagazine.com/70438-richard-dutcher-on-project-23-and-the-boys-at-the-bar/#comments</comments>
		<pubDate>Tue, 14 May 2013 12:00:46 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[crowdfunding]]></category>
		<category><![CDATA[education]]></category>
		<category><![CDATA[mentoring]]></category>
		<category><![CDATA[Project 23]]></category>
		<category><![CDATA[Richard Dutcher]]></category>
		<category><![CDATA[The Boys at the Bar]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70438</guid>
		<description><![CDATA[Richard Dutcher is one of the most important and accomplished directors that nobody&#8217;s heard of. Like many independent filmmakers, Dutcher is a multihyphenate: writer, director, actor, producer, editor. In the process he&#8217;s created eight feature films that span genres and styles, including romantic comedy (Girl Crazy), intense emotional drama (States of Grace), gritty gut-wrenching naturalism (Falling), supernatural horror (Evil Angel), elegant formalism (Tryptich), and even a passionate period piece with only one actress (Eliza and I). And since his 2000 film God&#8217;s Army he&#8217;s become something like the Robert Rodriguez of Utah: the most important filmmaker in a region with &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70438-richard-dutcher-on-project-23-and-the-boys-at-the-bar/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>The Opportunist on the Road to Cannes</title>
		<link>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/</link>
		<comments>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/#comments</comments>
		<pubDate>Mon, 13 May 2013 20:35:43 +0000</pubDate>
		<dc:creator>David Lassiter</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[Critics Week]]></category>
		<category><![CDATA[short film]]></category>
		<category><![CDATA[The Opportunist]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70346</guid>
		<description><![CDATA[My name is David Lassiter, I&#8217;m the writer and director of a short film called The Opportunist, and over the next few weeks, my team and I will be documenting our adventures on the road to Critics Week at Cannes where our film will have its world premiere. We are big fans of Filmmaker so we&#8217;re super excited to share our experiences. To begin! It’s only been two weeks since the Critics’ Week line-up was announced and already it feels like we’ve lived a lifetime. First things first: the film’s not even finished! We submitted a work in progress to Critics’ &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>2013 IFP Documentary Lab Projects Announced</title>
		<link>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/</link>
		<comments>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/#comments</comments>
		<pubDate>Mon, 13 May 2013 17:50:41 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[IFP Documentary Lab]]></category>
		<category><![CDATA[Independent Filmmaker Labs]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70485</guid>
		<description><![CDATA[This morning the 10 projects selected for the 2013 IFP Documentary Labs were announced. All are works by first-time directors and have budgets of less than $1 million, and filmmakers are provided with an immersive mentorship experience to guide them through post-production and looking ahead to the festival circuit and beyond. The films selected include Sara Dosa&#8217;s doc on mushroom hunters, Roots and Webs, produced by Court 13&#8242;s Josh Penn, and David Thorpe&#8217;s Do I Sound Gay, which has How to Survive a Plague&#8216;s Howard Gertler on board as producer. Spike Lee is the executive producer on Darius Clark Monroe&#8217;s Evolution of a &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Plea for Standards and Interoperability</title>
		<link>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/</link>
		<comments>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/#comments</comments>
		<pubDate>Mon, 13 May 2013 14:10:41 +0000</pubDate>
		<dc:creator>Kieran Masterton</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70444</guid>
		<description><![CDATA[This is a plea, of sorts, to the growing number of online platforms that wish to become a lasting link in the indie film value chain: please consider the interoperability of your systems. Increasingly, platforms do not require exclusivity, which is fantastic and frees filmmakers to release their films on multiple online/digital outlets at the same time. However, with the ever-increasing number of platforms comes more work for the filmmaker. Codecs, formats, resolutions, subtitles, audio specs, frame rates, aspect ratios &#8212; all of these are defined in platform requirements to ensure your video is compatible with their system. Then there &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<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>
		</item>
		<item>
		<title>The New Digital Storytelling Series: Katerina Cizek</title>
		<link>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/</link>
		<comments>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/#comments</comments>
		<pubDate>Thu, 09 May 2013 14:47:56 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Filmmaker-in-Residence]]></category>
		<category><![CDATA[HIGHRISE]]></category>
		<category><![CDATA[Katerina Cizek]]></category>
		<category><![CDATA[NFB]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70273</guid>
		<description><![CDATA[In the tenth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab, Katerina Cizek gives her take on the way digital technology is shaping contemporary storytelling. Cizek is currently the director of the NFB&#8217;s HIGHRISE project, exploring new forms and new approaches to content. HIGHRISE is a multi-year, many media series of projects. You can see it at highrise.nfb.ca and her previous project Filmmaker-in-Residence at filmmaker.nfb.ca. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70273-the-new-digital-storytelling-series-katerina-cizek/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Independent Screenwriter: Larry Gross</title>
		<link>http://filmmakermagazine.com/60240-the-independent-screenwriter-larry-gross/</link>
		<comments>http://filmmakermagazine.com/60240-the-independent-screenwriter-larry-gross/#comments</comments>
		<pubDate>Wed, 08 May 2013 13:00:53 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[john curran]]></category>
		<category><![CDATA[Larry Gross]]></category>
		<category><![CDATA[screenplay writing]]></category>
		<category><![CDATA[Terrence Malick]]></category>
		<category><![CDATA[Walter Hill]]></category>
		<category><![CDATA[wayne wang]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=60240</guid>
		<description><![CDATA[&#8220;The independent screenwriter&#8221; — is the term a tautology or oxymoron? While the word &#8220;independent&#8221; is often applied to directors and sometimes producers, it&#8217;s rarely seen appended to the job title of screenwriter. Is that because so many independent directors write their own scripts? Because screenwriters-for-hire are inevitably drawn to the world of Hollywood? Or, perhaps, because the term means little when applied to the craft of screenwriting? After all, while a director is reliant on others to provide financing and labor, a writer can always sit down with pen, paper or word processor. In this new, occasional column, we &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/60240-the-independent-screenwriter-larry-gross/feed/</wfw:commentRss>
		<slash:comments>7</slash:comments>
		</item>
		<item>
		<title>Solving Storytelling Problems at Tribeca Hacks</title>
		<link>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/</link>
		<comments>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/#comments</comments>
		<pubDate>Tue, 07 May 2013 17:21:15 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Bassam Tariq]]></category>
		<category><![CDATA[hackathon]]></category>
		<category><![CDATA[Julia Pott]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>
		<category><![CDATA[Tribeca Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70149</guid>
		<description><![CDATA[Technology-centered hackathons identify real-world problems and then attempt to solve them through rapid prototyping. Artistic hackathons — 48-Hour Playwriting contests and the like — use compressed time periods to stave off creators’ perennial demons (procrastination, usually manifested by a compulsive desire to clean one’s apartment). But hackathons that merge the creative with the artistic pose unique challenges. There’s the artistic element, the technology element and then also the fusion of the two, which is actually a third thing entirely. Storytelling craft, choice of content but also appropriateness and originality of UI and methods of engagement all become the criteria by &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70149-solving-storytelling-problems-at-tribeca-hacks/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<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>
		</item>
		<item>
		<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>
		</item>
	</channel>
</rss>
