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	<title>Filmmaker Magazine &#187; Production</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>How to Create Work Non-Stop Despite the Odds</title>
		<link>http://filmmakermagazine.com/72385-how-to-create-work-non-stop-despite-the-odds/</link>
		<comments>http://filmmakermagazine.com/72385-how-to-create-work-non-stop-despite-the-odds/#comments</comments>
		<pubDate>Tue, 11 Jun 2013 19:30:42 +0000</pubDate>
		<dc:creator>Natalia Leite and Alexandra Roxo</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Alexandra Roxo]]></category>
		<category><![CDATA[Be Here Now-ish]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[Natalia Leite]]></category>
		<category><![CDATA[web-series]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=72385</guid>
		<description><![CDATA[If you are an independent filmmaker who’s not a trust fund kid, most likely you are on that constant search for financing for your next project. As two filmmakers living in New York, attending indie film parties and groups, we are constantly hearing stories about the film that’s been five years in the making and counting&#8230; and to be honest, it’s a little depressing. We need more stories about &#8220;the little film that could!&#8221; to inspire optimism among indie filmmakers instead of the tired “Who’s financing your film?” conversations. We are no experts, but over the past year of collaborating &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/72385-how-to-create-work-non-stop-despite-the-odds/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Amazon Storyteller: A Sort-of-Free Storyboard Tool</title>
		<link>http://filmmakermagazine.com/72322-amazon-storyteller-a-sort-of-free-storyboard-tool/</link>
		<comments>http://filmmakermagazine.com/72322-amazon-storyteller-a-sort-of-free-storyboard-tool/#comments</comments>
		<pubDate>Mon, 10 Jun 2013 14:00:47 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Amazon]]></category>
		<category><![CDATA[storyboards]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=72322</guid>
		<description><![CDATA[Last week, Amazon added a new tool to Amazon Studios called Amazon Storyteller. Storyteller is a free, easy to use storyboarding tool, but before you rush out to try it, you might want to know a little more about Amazon Studios. A little history Not content with creating a distribution mechanism for films and videos, Amazon began dabbling in the world of production with the launch of Amazon Studios in latter 2010. Amazon Studios invited screenwriters to submit movie and television scripts with the prospect of prizes and production deals. During the first few months the incentive was primarily cash &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/72322-amazon-storyteller-a-sort-of-free-storyboard-tool/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>The Secret History of Blue-Tongue Films</title>
		<link>http://filmmakermagazine.com/72224-the-secret-history-of-blue-tongue-films/</link>
		<comments>http://filmmakermagazine.com/72224-the-secret-history-of-blue-tongue-films/#comments</comments>
		<pubDate>Fri, 07 Jun 2013 21:04:36 +0000</pubDate>
		<dc:creator>Keith BieryGolick</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[animal kingdom]]></category>
		<category><![CDATA[Blue Tongue Films]]></category>
		<category><![CDATA[David Michod]]></category>
		<category><![CDATA[Hesher]]></category>
		<category><![CDATA[Kieran Darcy-Smith]]></category>
		<category><![CDATA[Nash Edgerton]]></category>
		<category><![CDATA[Spencer Susser]]></category>
		<category><![CDATA[Wish You Were Here]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=72224</guid>
		<description><![CDATA[Blue-Tongue Films’ name appears before such films as Animal Kingdom, Hesher, The Square and Kieran Darcy-Smith’s Wish You Were Here, released this week by eONE Films, but it’s not a production company. Rather, Blue-Tongue Films calls itself a &#8220;production collective,&#8221; with its members including one American and seven Australian filmmakers. It started in 1996 when a grainy black-and-white five-minute film introduced them to no one in particular, certainly not the world. Nash Edgerton was working as a stuntman — or at least trying to. The group’s first short film, Loaded, started as a chase sequence meant to be a show &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/72224-the-secret-history-of-blue-tongue-films/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Councilwoman Castillo: Margo Guernsey on Making Her Feature-Length Political Documentary</title>
		<link>http://filmmakermagazine.com/71730-councilwoman-castillo-margo-guernsey-on-making-her-feature-length-political-documentary/</link>
		<comments>http://filmmakermagazine.com/71730-councilwoman-castillo-margo-guernsey-on-making-her-feature-length-political-documentary/#comments</comments>
		<pubDate>Wed, 29 May 2013 14:30:04 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Canon 5D]]></category>
		<category><![CDATA[Councilwoman Castillo]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[financing]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[Margo Guernsey]]></category>
		<category><![CDATA[Sony EX1]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=71730</guid>
		<description><![CDATA[Margo Guernsey has produced promotional mini-docs and videos for a number of non-profits, but for her first feature-length project, “Councilwoman Castillo,” she is focusing on the story of a hotel housekeeper, Carmen Castillo, elected to the City Council in Providence, Rhode Island. The project will cover Castillo’s first three years in office starting with her election in November 2011. Guernsey spoke to us recently about how she became interested in the project and her strategy for shooting and funding this low budget, multi-year project. &#160; Filmmaker: What is the story? Guernsey: It&#8217;s a story about a hotel housekeeper elected to &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/71730-councilwoman-castillo-margo-guernsey-on-making-her-feature-length-political-documentary/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>15 Tips for Producers from the Cannes Film Festival</title>
		<link>http://filmmakermagazine.com/71609-1-tips-for-producers-from-the-cannes-film-festival/</link>
		<comments>http://filmmakermagazine.com/71609-1-tips-for-producers-from-the-cannes-film-festival/#comments</comments>
		<pubDate>Tue, 28 May 2013 13:47:38 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[distribution]]></category>
		<category><![CDATA[financing]]></category>
		<category><![CDATA[production]]></category>
		<category><![CDATA[screenplay writing]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=71609</guid>
		<description><![CDATA[Learning from your producer colleagues — that’s one of the benefits of attending the Cannes Film Festival and Market. Whether you are premiering a film, hustling a film, or just watching movies, the experience of encountering at multiple parties fellow filmmakers makes Cannes a great place to glean tips on your practice by observing how others are getting it done. In addition to watching movies, this year at Cannes I moderated morning meetings at the Producers Network, of which IFP is a sponsoring partner. I also moderated the &#8220;American Producers in Cannes&#8221; panel at the American Pavilion and spoke with &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/71609-1-tips-for-producers-from-the-cannes-film-festival/feed/</wfw:commentRss>
		<slash:comments>9</slash:comments>
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		<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>
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		<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>4</slash:comments>
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		<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>4</slash:comments>
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		<title>The New Digital Storytelling Series: Vivek Bald</title>
		<link>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/</link>
		<comments>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 16:10:10 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Bengali Harlem]]></category>
		<category><![CDATA[directing]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[financing]]></category>
		<category><![CDATA[Hybrid]]></category>
		<category><![CDATA[interactive]]></category>
		<category><![CDATA[internet]]></category>
		<category><![CDATA[MIT OpenDocLab]]></category>
		<category><![CDATA[Story worlds]]></category>
		<category><![CDATA[Vivek Bald]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69430</guid>
		<description><![CDATA[In the eighth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab,  Vivek Bald, filmmaker, Associate Professor of Writing and Digital Media at MIT and a member of the MIT Open Documentary Lab, answers our questions. Bald&#8217;s ongoing project, Bengali Harlem, documents the history of two little-known groups of South Asian immigrants. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin. MIT Open Documentary Lab: How did you become a digital storyteller? Were there &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69430-the-new-digital-storytelling-series-vivek-bald/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Using a Stair Climber for a Crane Shot</title>
		<link>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/</link>
		<comments>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/#comments</comments>
		<pubDate>Fri, 19 Apr 2013 13:00:09 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68951</guid>
		<description><![CDATA[Sometimes a piece of everyday equipment can be used for an unusual purpose. While shooting a recent music video for the band Run 8 Rider, director Sean Meehan noticed a stair climber at the location and wondered if it couldn’t be used to create some kind of crane shot. An additional twist is that the shot would consist of three sequences shot at different times in the shooting day and be spliced together. Sean explains how the shot was made: We walked in, I saw this stair climber and my first thought was &#8220;That&#8217;d be really cool to use for &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68951-using-a-stair-climber-for-a-crane-shot/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Ryan Koo on Amateur, Feature Fundraising, and the Kickstarter Long Game</title>
		<link>http://filmmakermagazine.com/68806-ryan-koo-on-amateur-feature-fundraising-and-the-kickstarter-long-game/</link>
		<comments>http://filmmakermagazine.com/68806-ryan-koo-on-amateur-feature-fundraising-and-the-kickstarter-long-game/#comments</comments>
		<pubDate>Wed, 17 Apr 2013 22:07:51 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Assemble]]></category>
		<category><![CDATA[No Film School]]></category>
		<category><![CDATA[Ryan Koo]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68806</guid>
		<description><![CDATA[In the Fall of 2011, filmmaker Ryan Koo &#8212; featured along with then-partner Zachary Lieberman on our 2008 &#8220;25 New Faces&#8221; &#8212; announced his debut feature, Man-child. Embarking on an ambitious Kickstarter campaign, Koo leveraged not only the community he had been building via his excellent website, No Film School, but also his project&#8217;s selection for the IFP and Film Society of Lincoln Center&#8217;s Emerging Visions program. The campaign was a success, raising $125,100, and, as he&#8217;s moved his story of youth basketball forward, Koo has been, essentially, open-sourcing his progress, giving advice on not only social-media fundraising but screenplay &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68806-ryan-koo-on-amateur-feature-fundraising-and-the-kickstarter-long-game/feed/</wfw:commentRss>
		<slash:comments>13</slash:comments>
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		<item>
		<title>Why Filmmaking is Like Software Design</title>
		<link>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/</link>
		<comments>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/#comments</comments>
		<pubDate>Mon, 15 Apr 2013 13:00:31 +0000</pubDate>
		<dc:creator>A.D. Calvo</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Pre-Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67052</guid>
		<description><![CDATA[Before becoming a filmmaker I spent 15 years designing software. Started out as a Mac OS programmer and then moved to Microsoft Windows. My endeavors included all things visual—from icon design and screen layout, to the more abstract design patterns found in system architecture and coding. What I discovered along the way was that the most elegant solutions—the products that worked best, most reliably, and resonated strongly with their user base—were always the most simple and minimalist in design. And there was always room for improvement via testing, focus groups, and refactoring (a techie word for the iterative process of &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Stunt Driving with the Biscuit Rig, Jr: Interview with Engineer and Driver Robert Nagle</title>
		<link>http://filmmakermagazine.com/67802-stunt-driving-with-the-biscuit-rig-jr-interview-with-engineer-and-driver-robert-nagle/</link>
		<comments>http://filmmakermagazine.com/67802-stunt-driving-with-the-biscuit-rig-jr-interview-with-engineer-and-driver-robert-nagle/#comments</comments>
		<pubDate>Wed, 10 Apr 2013 14:22:02 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67802</guid>
		<description><![CDATA[Robert Nagle studied mechanical engineering and racecar design before becoming a professional race driver. But when he found out that some of the other drivers were working in the film industry, it piqued his interest. Said Nagle, “What I found was that it fulfilled a creative side of me that I didn&#8217;t really realize was there.” He left the racing world and hasn’t looked back, doing stunt driving for a number of films, including The Dark Knight Rises and Drive. One piece of equipment he’s been driving lately is the Biscuit Rig Jr., a driveable platform developed by Allan Padelford &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67802-stunt-driving-with-the-biscuit-rig-jr-interview-with-engineer-and-driver-robert-nagle/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Hero Punk: A Cyberpunk Superhero Film Shot on the Blackmagic Cinema Camera in Green Screen</title>
		<link>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/</link>
		<comments>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 17:14:45 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[Blackmagic Cinema Camera]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67880</guid>
		<description><![CDATA[Kanen Flowers describes himself as a “former technology guy” who got into filmmaking around 2001 with the goal of writing and directing his own material. In 2007, he started work on Jack Forgotten, a project that he says is still in postproduction. Other projects have met with greater success; he started the That Post Show podcast, and a show called That Media Show, and has produced a variety of shorts and web-based content through his production company, Scruffy.tv. At the moment he’s working on Hero Punk, a full-length feature which was shot using the Blackmagic Cinema Camera. Hero Punk is &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<item>
		<title>Production Design on a Budget</title>
		<link>http://filmmakermagazine.com/67058-production-design-on-a-budget/</link>
		<comments>http://filmmakermagazine.com/67058-production-design-on-a-budget/#comments</comments>
		<pubDate>Mon, 18 Mar 2013 13:00:55 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[music video]]></category>
		<category><![CDATA[production design]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67058</guid>
		<description><![CDATA[On small budget productions, coming up with locations can be a challenge – especially if you need something a bit unusual. An upcoming music video for the band Run 8 Rider required that a single location represent three different time periods to tell its story. Using a borrowed house as the location, director Sean Meehan turned to production designer Riley Fearon to supervise the transformation of the location. In this interview Riley talks about the challenges of working on a small budget, how he approaches production design, and how he came to the field. Filmmaker: For this project what have &#8230;]]></description>
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		<slash:comments>3</slash:comments>
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		<item>
		<title>Five Questions with Orc Wars Director Kohl Glass</title>
		<link>http://filmmakermagazine.com/66754-five-questions-with-orc-wars-director-kohl-glass/</link>
		<comments>http://filmmakermagazine.com/66754-five-questions-with-orc-wars-director-kohl-glass/#comments</comments>
		<pubDate>Fri, 15 Mar 2013 21:25:31 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Fantasy]]></category>
		<category><![CDATA[horror]]></category>
		<category><![CDATA[Hybrid]]></category>
		<category><![CDATA[Kohl Glass]]></category>
		<category><![CDATA[Orc Wars]]></category>
		<category><![CDATA[science fiction]]></category>
		<category><![CDATA[special effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66754</guid>
		<description><![CDATA[Microbudget film doesn’t venture into the expensive world of science fiction too often, and certainly not the brand that features hordes of orcs and other fantasy creatures. But that’s exactly where Emmy-winning director Kohl Glass, whose short film Der Ostwind played at Sundance in 2007, wanted to go with his debut feature, Orc Wars. The film, which has wrapped and is currently gathering its finishing funds on Kickstarter, features ex-Marine John Norton (Rusty Joiner) who buys an isolated western ranch that turns out to contain a portal to another world; when orcs use it to threaten an elf princess (Masiela Lusha) &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66754-five-questions-with-orc-wars-director-kohl-glass/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>My Journey From Doctor to Actor/Filmmaker: How I Produced, Starred in and Profited from My Indie Films</title>
		<link>http://filmmakermagazine.com/66270-my-journey-from-doctor-to-actorfilmmaker-how-i-produced-starred-in-and-profited-from-my-indie-films/</link>
		<comments>http://filmmakermagazine.com/66270-my-journey-from-doctor-to-actorfilmmaker-how-i-produced-starred-in-and-profited-from-my-indie-films/#comments</comments>
		<pubDate>Tue, 12 Mar 2013 19:58:18 +0000</pubDate>
		<dc:creator>Amar Sidhu</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Aakhari Decision]]></category>
		<category><![CDATA[Amar Sidhu]]></category>
		<category><![CDATA[The Black Russian]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66270</guid>
		<description><![CDATA[“There are no limits. There are only plateaus, and you must not stay there, you must go beyond them.” -Bruce Lee If you are pursuing something as ambitious as acting or filmmaking, you know that one of the most valuable assets you have is your time. I work full-time as a doctor, and if you work full-time like I do and you want to make it big in the film industry, you’ve got to learn how to make sacrifices and budget your time. For instance, I performed surgery this morning, did an interview at noon, and edited some scenes of &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66270-my-journey-from-doctor-to-actorfilmmaker-how-i-produced-starred-in-and-profited-from-my-indie-films/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<item>
		<title>Working with Hair and Makeup – Interview with Maya Landi</title>
		<link>http://filmmakermagazine.com/65998-working-with-hair-and-makeup-interview-with-maya-landi/</link>
		<comments>http://filmmakermagazine.com/65998-working-with-hair-and-makeup-interview-with-maya-landi/#comments</comments>
		<pubDate>Fri, 01 Mar 2013 15:41:41 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[makeup]]></category>
		<category><![CDATA[special effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65998</guid>
		<description><![CDATA[Maya Landi is Boston-based hairstylist and makeup artist who works on everything from weddings and music videos to horror films. I talked to her recently about her work, how to age characters and how to create a head-shot effect, during the shooting of a music video for the band Run 8 Rider. Filmmaker: What have you been doing for this project? Landi: One of the characters plays a grandfather and a father in different eras in time. I had to do some aging makeup for him, as well as make everybody look appropriate for the era that they are supposed to &#8230;]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Making HENRi: A Low-Budget Sci-fi Short Film Odyssey</title>
		<link>http://filmmakermagazine.com/65738-making-henri-a-low-budget-sci-fi-short-film-odyssey/</link>
		<comments>http://filmmakermagazine.com/65738-making-henri-a-low-budget-sci-fi-short-film-odyssey/#comments</comments>
		<pubDate>Mon, 25 Feb 2013 20:58:53 +0000</pubDate>
		<dc:creator>Eli Sasich</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[low budget]]></category>
		<category><![CDATA[miniatures]]></category>
		<category><![CDATA[visual effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65738</guid>
		<description><![CDATA[A little over three years ago, I decided I wanted to make a sci-fi short film about a robot trying to become human. My idea was to combine live action with miniatures and rod-puppetry – despite having no previous experience with special effects. Initial reactions from family, friends, and collaborators were of the &#8220;Are you insane?&#8221; variety – perhaps rightfully so. It was at that point I knew I had to make the film. What followed was an odd combination of luck, coincidence, and disaster – three ingredients that are rarely talked about, yet I’m convinced are completely inseparable from &#8230;]]></description>
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		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>10 Lessons on Filmmaking from Beasts of the Southern Wild&#8217;s Benh Zeitlin</title>
		<link>http://filmmakermagazine.com/65614-10-lessons-on-filmmaking-from-beasts-of-the-southern-wilds-benh-zeitlin/</link>
		<comments>http://filmmakermagazine.com/65614-10-lessons-on-filmmaking-from-beasts-of-the-southern-wilds-benh-zeitlin/#comments</comments>
		<pubDate>Fri, 22 Feb 2013 22:35:48 +0000</pubDate>
		<dc:creator>Ariston Anderson</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Beasts of the Southern Wild]]></category>
		<category><![CDATA[Benh Zeitlin]]></category>
		<category><![CDATA[Court 13]]></category>
		<category><![CDATA[Emir Kusturica]]></category>
		<category><![CDATA[Glory at Sea]]></category>
		<category><![CDATA[Kustendorf]]></category>
		<category><![CDATA[Oscars]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65614</guid>
		<description><![CDATA[Despite legions of advice to the contrary, there is no quick-fix scheme toward making a feature film. What it really comes down to is creating a universal story and surrounding yourself with people who believe in your vision enough to see it come to life. Benh Zeitlin proves that to make a powerful film today, you don’t need gimmicks, a convoluted strategy, or even connections in the business. All you really need is a story so strong that it’s impossible not to make. The 30-year-old Zeitlin’s journey from short to feature is a true fairytale in the landscape of American indie &#8230;]]></description>
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		<slash:comments>23</slash:comments>
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