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	<title>Filmmaker Magazine &#187; Interviews</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Bobbito Garcia on Doin&#8217; It in the Park: Pick-Up Basketball</title>
		<link>http://filmmakermagazine.com/70945-bobbito-garcia-on-doin-it-in-the-park-pick-up-basketball/</link>
		<comments>http://filmmakermagazine.com/70945-bobbito-garcia-on-doin-it-in-the-park-pick-up-basketball/#comments</comments>
		<pubDate>Wed, 22 May 2013 16:27:50 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Bobbito Garcia]]></category>
		<category><![CDATA[Doin' It in the Park: Pick-Up Basketball]]></category>
		<category><![CDATA[Kevin Couliau]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70945</guid>
		<description><![CDATA[By some estimates, over half a million people play pick-up basketball in the playgrounds of New York each year. In Doin’ It in the Park: Pick-Up Basketball, filmmakers and pick-up basketball enthusiasts Bobbito Garcia and Kevin Couliau set out to create the most comprehensive document of New York City&#8217;s summer, outdoor pick-up basketball scene by visiting 180 courts throughout all five of the city&#8217;s boroughs. Shot in a breakneck 75 summer days during 2011, their debut documentary has an immediacy and intimacy that speaks to its homemade vibe, even amongst former and current NBA players like Kenny Anderson and Brandon Jennings, &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70945-bobbito-garcia-on-doin-it-in-the-park-pick-up-basketball/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>&#8220;Lack of Access Made Us More Artful:&#8221; Alex Gibney on We Steal Secrets: The Story of WikiLeaks</title>
		<link>http://filmmakermagazine.com/70857-lack-of-access-made-us-more-artful-alex-gibney-on-we-steal-secrets-the-story-of-wikileaks/</link>
		<comments>http://filmmakermagazine.com/70857-lack-of-access-made-us-more-artful-alex-gibney-on-we-steal-secrets-the-story-of-wikileaks/#comments</comments>
		<pubDate>Tue, 21 May 2013 19:30:58 +0000</pubDate>
		<dc:creator>Daniel James Scott</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Alex Gibney]]></category>
		<category><![CDATA[We Steal Secrets: The Story of WikiLeaks]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70857</guid>
		<description><![CDATA[As a documentary subject, WikiLeaks couldn&#8217;t be in better hands than those of Alex Gibney. The Oscar-winning director of Taxi to the Dark Side, whose other films include Enron: The Smartest Guys in the Room and Mea Maxima Culpa, has displayed an ongoing interest in exposing corruptions of power. WikiLeaks, the whistleblower website responsible for the largest leaks of classified documents in history, was founded on the same principle. Yet it is surprising that We Steal Secrets: The Story of WikiLeaks explores the decline of the organization as it became a victim of its own beliefs. The documentary explores the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70857-lack-of-access-made-us-more-artful-alex-gibney-on-we-steal-secrets-the-story-of-wikileaks/feed/</wfw:commentRss>
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		<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>
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		<title>Street Views: a Conversation with James Nares and His Cinematic Ode to New York</title>
		<link>http://filmmakermagazine.com/71145-street-views-a-conversation-with-james-nares-and-his-cinematic-ode-to-new-york/</link>
		<comments>http://filmmakermagazine.com/71145-street-views-a-conversation-with-james-nares-and-his-cinematic-ode-to-new-york/#comments</comments>
		<pubDate>Tue, 21 May 2013 17:25:28 +0000</pubDate>
		<dc:creator>Paul Dallas</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[James Nares]]></category>
		<category><![CDATA[Street]]></category>
		<category><![CDATA[Thurston Moore]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=71145</guid>
		<description><![CDATA[In James Nares’s 1976 film Pendulum, a large metal sphere swings ominously from a bridge in a desolate TriBeCa street. We watch with unease as the ball, viewed from multiple positions, traces a giant arc, pulling on the cable, which emits a low rhythmic groan on the soundtrack. This tense, hypnotic Super-8 film, which transforms a forlorn streetscape into existential theater, offers a strange love-letter to a city (at that moment) riddled with danger and alive with artistic possibility. Pendulum was made several years after Nares’s arrival in New York at age 21 from his native England. The city’s been &#8230;]]></description>
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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>
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		<slash:comments>0</slash:comments>
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		<title>Julianne Moore: Cinema&#8217;s Modest Chameleon</title>
		<link>http://filmmakermagazine.com/70837-julianne-moore-cinemas-modest-chameleon/</link>
		<comments>http://filmmakermagazine.com/70837-julianne-moore-cinemas-modest-chameleon/#comments</comments>
		<pubDate>Fri, 17 May 2013 18:47:29 +0000</pubDate>
		<dc:creator>R. Kurt Osenlund</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[actors]]></category>
		<category><![CDATA[Julianne Moore]]></category>
		<category><![CDATA[The English Teacher]]></category>
		<category><![CDATA[What Maisie Knew]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70837</guid>
		<description><![CDATA[Julianne Moore makes it terribly easy to like her. Her remarkable consistency has helped her remain a stellar screen presence for more than two decades. Her transformative abilities have morphed her into everything from a troubled hypochondriac (Safe) and a maternal porn star (Boogie Nights) to a 1950s housewife (Far From Heaven) and one half of a loving lesbian couple (The Kids Are All Right). And her singular, nature-defying beauty has continued to land her fashion cover shoots at the age of 52. All of this springs to mind when Moore greets an eager parade of press while promoting her new &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70837-julianne-moore-cinemas-modest-chameleon/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<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>
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		<slash:comments>0</slash:comments>
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		<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>
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		<slash:comments>3</slash:comments>
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		<title>Bryce Dallas Howard on Project Imaginat10n</title>
		<link>http://filmmakermagazine.com/70482-bryce-dallas-howard-on-project-imaginat10n/</link>
		<comments>http://filmmakermagazine.com/70482-bryce-dallas-howard-on-project-imaginat10n/#comments</comments>
		<pubDate>Mon, 13 May 2013 18:22:31 +0000</pubDate>
		<dc:creator>Sarah Salovaara</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Bryce Dallas Howard]]></category>
		<category><![CDATA[Canon]]></category>
		<category><![CDATA[Canon C300]]></category>
		<category><![CDATA[Canon C500]]></category>
		<category><![CDATA[Project Imagin8tion]]></category>
		<category><![CDATA[Project Imaginat10n]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70482</guid>
		<description><![CDATA[Back in 2011, Canon approached director Ron Howard about creating a short film inspired by a framework of eight photographs, which were culled from over 100,000 submissions through an online contest. Howard declined on account of his busy schedule, but offered to mentor a filmmaker through the process. His pupil in Project Imagin8ion was none other than his daughter, actress Bryce Dallas Howard. Through the exercise, Bryce crafted the 29-minute when you find me, a short film written by Dane Carbeneau about two sisters grappling with the death of their mother through space and time. A photograph of a dilapidated &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Martha Stephens on Pilgrim Song</title>
		<link>http://filmmakermagazine.com/70328-martha-stephens-on-pilgrim-song/</link>
		<comments>http://filmmakermagazine.com/70328-martha-stephens-on-pilgrim-song/#comments</comments>
		<pubDate>Fri, 10 May 2013 13:30:08 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Martha Stephens]]></category>
		<category><![CDATA[Pilgrim Song]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70328</guid>
		<description><![CDATA[In Martha Stephens&#8217; lovely, evocative and deceptively simple Pilgrim Song, Timothy Morton (Team Picture) plays James, a newly unemployed elementary school music teacher from Louisville, Kentucky. A gangly fellow with a large red beard, some mean fiddle skills and an unreliable sense of direction, James finds his future hanging in the balance in more ways than one after he&#8217;s laid off from his teaching gig. Seeking some sort solace following his dismissal and an unspoken trauma that has pushed him apart from his girlfriend Joan (Karrie Crouse, also the film&#8217;s co-writer), he sets out on a trek across Kentucky&#8217;s Sheltowee Trace &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>&#8220;Someone Who&#8217;s Arrogant Who&#8217;s Being Killed:&#8221; Ben Wheatley on Sightseers</title>
		<link>http://filmmakermagazine.com/70352-someone-whos-arrogant-whos-being-killed-ben-wheatley-on-sightseers/</link>
		<comments>http://filmmakermagazine.com/70352-someone-whos-arrogant-whos-being-killed-ben-wheatley-on-sightseers/#comments</comments>
		<pubDate>Thu, 09 May 2013 18:30:22 +0000</pubDate>
		<dc:creator>Vadim Rizov</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Ben Wheatley]]></category>
		<category><![CDATA[Comedy]]></category>
		<category><![CDATA[horror]]></category>
		<category><![CDATA[Sightseers]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70352</guid>
		<description><![CDATA[Ben Wheatley first gained attention with a nine-second video clip that went viral in the pre-YouTube era. In &#8220;Cunning Stunt,&#8221; a man successfully jumps over a moving car, celebrates, and is instantly wiped out by an unseen oncoming vehicle. It&#8217;s a funny, jolting gag restaged in Wheatley&#8217;s 2009 feature debut Down Terrace (a sick-funny look at a homicidal low-tier-criminal family bumping off everyone in their immediate circle). Death by vehicular homicide again makes for the first death in his latest film Sightseers. Chris (Steve Oram) just wants to take his girlfriend Tina (Alice Lowe) on a relaxing rural trip through &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<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>
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		<slash:comments>7</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>
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		<slash:comments>0</slash:comments>
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		<title>&#8220;Twilight&#8217;s Fine, But It&#8217;s for Children:&#8221; Xan Cassavetes on Kiss of the Damned</title>
		<link>http://filmmakermagazine.com/70023-twilights-fine-but-its-for-children-xan-cassavetes-on-kiss-of-the-damned/</link>
		<comments>http://filmmakermagazine.com/70023-twilights-fine-but-its-for-children-xan-cassavetes-on-kiss-of-the-damned/#comments</comments>
		<pubDate>Fri, 03 May 2013 15:44:16 +0000</pubDate>
		<dc:creator>R. Kurt Osenlund</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[horror]]></category>
		<category><![CDATA[Kiss of the Damned]]></category>
		<category><![CDATA[Xan Cassavetes]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70023</guid>
		<description><![CDATA[Could John Cassavetes&#8217; children, all of whom have grabbed his passed torch, be any more different? Son Nick has dabbled in gritty crime fare (Alpha Dog) and mainstream melodrama (The Notebook), daughter Zoe helmed Broken English and has ties to the fashion biz, and now eldest daughter Alexandra — or “Xan,” for short — has carried on the tradition, making her own distinct narrative directorial debut with the vampire romance Kiss of the Damned after previously making the cinephilic doc Z Channel: A Magnificent Obsession. Adamantly stylized, worldly, and nostalgic, Kiss of the Damned, which Xan also wrote, joins Neil &#8230;]]></description>
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		<title>Talking with Michael Di Jiacomo and John Turturro about 1-900-Tonight</title>
		<link>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/</link>
		<comments>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/#comments</comments>
		<pubDate>Fri, 03 May 2013 13:00:57 +0000</pubDate>
		<dc:creator>Lauren Wissot</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[1-900-Tonight]]></category>
		<category><![CDATA[john turturro]]></category>
		<category><![CDATA[Michael Di Jiacomo]]></category>
		<category><![CDATA[Shooting]]></category>
		<category><![CDATA[Somewhere Tonight]]></category>
		<category><![CDATA[Starz]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70011</guid>
		<description><![CDATA[One of the most frustrating things about covering film festivals is making discoveries that few movie lovers will ever see. Filmmaking is an industry after all, and as such, artistry will always play second fiddle to marketability. Even so, I was quite surprised to learn that one of my favorite films from the 2011 edition of the prestigious Karlovy Vary International Film Festival never found U.S. theatrical distribution. Surely someone could have figured a way to sell a John Turturro-starring, NYC-set story about two lost souls on opposite ends of an adult chat line? (Especially considering Turturro last year appeared &#8230;]]></description>
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		<title>On Being a Cult Filmmaker: An Interview with Trent Harris</title>
		<link>http://filmmakermagazine.com/69928-on-being-a-cult-filmmaker-an-interview-with-trent-harris/</link>
		<comments>http://filmmakermagazine.com/69928-on-being-a-cult-filmmaker-an-interview-with-trent-harris/#comments</comments>
		<pubDate>Wed, 01 May 2013 20:17:29 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Plan 10 from Outer Space]]></category>
		<category><![CDATA[Rubin and Ed]]></category>
		<category><![CDATA[The Beaver Trilogy]]></category>
		<category><![CDATA[Trent Harris]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69928</guid>
		<description><![CDATA[Trent Harris has paid his dues. The Salt Lake City-based filmmaker has made more films than he can count, mostly shorts, documentaries, and experimental films. But his narrative feature films are among the best examples of underground cult films, including three that will show tonight, tomorrow, and Friday at the 92 Street Y&#8217;s Tribeca location. Harris will be in attendance for a post-screening discussion every night. The Beaver Trilogy (Wednesday), his best-known work, is broken into three parts, each filmed years apart. The first is a documentary about Groovin&#8217; Gary (Richard LaVon Griffith), a young man from the small town &#8230;]]></description>
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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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		<title>Phie Ambo on Free the Mind</title>
		<link>http://filmmakermagazine.com/68908-phie-ambo-on-free-the-mind/</link>
		<comments>http://filmmakermagazine.com/68908-phie-ambo-on-free-the-mind/#comments</comments>
		<pubDate>Wed, 01 May 2013 14:50:41 +0000</pubDate>
		<dc:creator>Lauren Wissot</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Free the Mind]]></category>
		<category><![CDATA[Phie Ambo]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68908</guid>
		<description><![CDATA[Phie Ambo’s Free the Mind was one of my favorite flicks at this past International Documentary Film Festival Amsterdam, so I was thrilled to learn it would finally reach these American shores via a premiere at the Rubin Museum of Art in NYC on May 3rd. (And hopefully roll out nationwide if the filmmakers’ Indiegogo financing effort – which includes a photo op with the Dalai Lama as a reward – goes according to plan.) And I was even more excited to have the chance to speak with the Danish documentarian herself, whose film about University of Wisconsin professor Richard &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>&#8220;I’ve Never Understood a Traditional Screenplay:&#8221; Carlos Reygadas on Post Tenebras Lux</title>
		<link>http://filmmakermagazine.com/66943-ive-never-understood-a-traditional-screenplay-carlos-reygadas-on-post-tenebras-lux/</link>
		<comments>http://filmmakermagazine.com/66943-ive-never-understood-a-traditional-screenplay-carlos-reygadas-on-post-tenebras-lux/#comments</comments>
		<pubDate>Wed, 01 May 2013 14:36:17 +0000</pubDate>
		<dc:creator>David Barker</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Screenwriters]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Carlos Reygadas]]></category>
		<category><![CDATA[development]]></category>
		<category><![CDATA[editing]]></category>
		<category><![CDATA[Post Tenebras Lux]]></category>
		<category><![CDATA[screenplay writing]]></category>
		<category><![CDATA[screenwriting]]></category>
		<category><![CDATA[storyboards]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66943</guid>
		<description><![CDATA[Born in Mexico City, Carlos Reygadas was a lawyer specializing in armed-conflict resolution in Brussels when he decided to try his hand at making films at the age of 30. He quickly became a unique voice in cinema with his first feature, Japón (2001), which received a special mention for the Camera d’Or at Cannes that year. In his three films since, Reygadas has developed his cinematic language and abilities, as well as his reputation for making aesthetically uncompromising and provocative films. If his second film, Battle in Heaven (2005), cemented his reputation as a provocateur, his following Silent Light &#8230;]]></description>
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		<title>Cult Classic: Jodi Wille and Maria Demopoulos on The Source Family</title>
		<link>http://filmmakermagazine.com/69109-cult-classic-jodi-wille-and-maria-demopoulos-on-the-source-family/</link>
		<comments>http://filmmakermagazine.com/69109-cult-classic-jodi-wille-and-maria-demopoulos-on-the-source-family/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 15:10:55 +0000</pubDate>
		<dc:creator>Jim Allen</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Jodi Wille]]></category>
		<category><![CDATA[Maria Demopoulos]]></category>
		<category><![CDATA[The Source Family]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69109</guid>
		<description><![CDATA[If you had an inside connection to a true-life tale in which sex, drugs, and rock &#38; roll were part of the path to spiritual salvation for a ‘70s L.A. hippie cult group, wouldn’t you want to make a movie about it? Jodi Wille and Maria Demopoulos’s documentary, The Source Family, offers up an intimate history of the group led by Father Yod, A.K.A. Jim Baker. A successful, charismatic businessman, Baker had a late-1960s spiritual awakening leading to his establishment of a religious commune whose initial hub was his popular Sunset Strip health-food restaurant, The Source. After adopting his newly &#8230;]]></description>
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