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	<title>Filmmaker Magazine</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Cannes 2013: Jia&#8217;s A Touch of Sin and Ozon&#8217;s Young and Beautiful</title>
		<link>http://filmmakermagazine.com/70925-cannes-2013-jias-a-touch-of-sin-and-ozons-young-and-beautiful/</link>
		<comments>http://filmmakermagazine.com/70925-cannes-2013-jias-a-touch-of-sin-and-ozons-young-and-beautiful/#comments</comments>
		<pubDate>Sun, 19 May 2013 20:37:51 +0000</pubDate>
		<dc:creator>Chuck Tryon</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[A Touch of Sin]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[Francois Ozon]]></category>
		<category><![CDATA[Jeune et Jolie]]></category>
		<category><![CDATA[Jia Zhangke]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70925</guid>
		<description><![CDATA[Negotiating Cannes is a unique challenge, especially for someone attending the festival for the first time. Although the festival is commonly associated with red carpets and other assorted glamour, my clearest memories of the festival entail trekking from a borrowed condo in Antibes early in the morning — thanks to the monumental patience of my wife who drove me in — to queue up with other journalists for an 8:30 press screening (finding those lines the first couple of days is an entirely different matter). Rainy weather early in the festival also seemed to undermine Cannes&#8217; reputation for sun and &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70925-cannes-2013-jias-a-touch-of-sin-and-ozons-young-and-beautiful/feed/</wfw:commentRss>
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		<item>
		<title>Cannes 2013 Opens with 3-D Glamour, Call Girls &amp; Sci-Fi Animation</title>
		<link>http://filmmakermagazine.com/70889-cannes-2013-opens-with-3-d-glamour-call-girls-sci-fi-animation/</link>
		<comments>http://filmmakermagazine.com/70889-cannes-2013-opens-with-3-d-glamour-call-girls-sci-fi-animation/#comments</comments>
		<pubDate>Sat, 18 May 2013 15:01:48 +0000</pubDate>
		<dc:creator>Ariston Anderson</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[ari folman]]></category>
		<category><![CDATA[Carey Mulligan]]></category>
		<category><![CDATA[Charlotte Rampling]]></category>
		<category><![CDATA[Francois Ozon]]></category>
		<category><![CDATA[Lynne Ramsey]]></category>
		<category><![CDATA[Marine Vacth]]></category>
		<category><![CDATA[Nicole Kidman]]></category>
		<category><![CDATA[Robin Penn]]></category>
		<category><![CDATA[Steven Spielberg]]></category>
		<category><![CDATA[The Congress]]></category>
		<category><![CDATA[The Great Gatsby]]></category>
		<category><![CDATA[The Past]]></category>
		<category><![CDATA[Young & Beautiful]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70889</guid>
		<description><![CDATA[This year’s 66th Cannes Film Festival opened with a venerable love fest at the Jury Press Conference on Wednesday. Led by Steven Spielberg, this year’s panel drew an incredible mix of cinema talent Ang Lee, Nicole Kidman and Christoph Waltz, as well as Romanian director Cristian Mungiu and Scotland’s Lynne Ramsay. Spielberg and Lee admitted to the assembled press that they absolutely worshipped each other, despite being pitted up against each other at the Oscars this year. Although Spielberg said he was ready to judge, he claimed, “I look at this as two weeks of celebrating film, not two weeks &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70889-cannes-2013-opens-with-3-d-glamour-call-girls-sci-fi-animation/feed/</wfw:commentRss>
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		<title>Starting Tonight: Secret Film Club @ reRun</title>
		<link>http://filmmakermagazine.com/70862-starting-tonight-secret-film-club-rerun/</link>
		<comments>http://filmmakermagazine.com/70862-starting-tonight-secret-film-club-rerun/#comments</comments>
		<pubDate>Fri, 17 May 2013 22:24:47 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[reRun]]></category>
		<category><![CDATA[Secret Film Club]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70862</guid>
		<description><![CDATA[Since IFP and Filmmaker began programming the reRun Theater in Brooklyn, we&#8217;ve been trying to bring audiences great films, but also do it in an interesting and different way whenever possible. One of the ideas that we came up with to bring a little variety to proceedings was our Secret Film Club, which kicks off tonight. In the next week, we&#8217;ll be playing 11 films over five different nights. The screenings will all be free. But we won&#8217;t be telling anyone what the films are. Cryptic clues will be distributed to give you something to go on, however, the first &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70862-starting-tonight-secret-film-club-rerun/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The Opportunist on the Croisette</title>
		<link>http://filmmakermagazine.com/70853-the-opportunist-on-the-croisette/</link>
		<comments>http://filmmakermagazine.com/70853-the-opportunist-on-the-croisette/#comments</comments>
		<pubDate>Fri, 17 May 2013 21:47:47 +0000</pubDate>
		<dc:creator>David Lassiter</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[The Opportunist]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70853</guid>
		<description><![CDATA[Director David Lassiter, whose short film The Opportunist is playing in the Critics&#8217; Fortnight, is blogging about his Cannes experiences. You can read his first dispatch here. Day one at Cannes and we’re already off to the races! After almost a full day of travel (L.A. -&#62; Toronto -&#62; Zurich -&#62; Nice -&#62; Cannes) we checked into an Airbnb apartment owned by a charming Frenchman named Olivier, dropped off our bags, and hit the Croisette. Our first stop was the Palais de Festival, where we were warmly greeted by Julie Marnay and her lovely team at Semaine de la Critique. &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70853-the-opportunist-on-the-croisette/feed/</wfw:commentRss>
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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[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>
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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[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>Cannes 2013: First Clips from Gray&#8217;s The Immigrant and Saulnier&#8217;s Blue Ruin</title>
		<link>http://filmmakermagazine.com/70828-cannes-2013-first-clips-from-grays-the-immigrant-and-saulniers-blue-ruin/</link>
		<comments>http://filmmakermagazine.com/70828-cannes-2013-first-clips-from-grays-the-immigrant-and-saulniers-blue-ruin/#comments</comments>
		<pubDate>Fri, 17 May 2013 17:46:56 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Blue Ruin]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[james gray]]></category>
		<category><![CDATA[Jeremy Saulnier]]></category>
		<category><![CDATA[The Immigrant]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70828</guid>
		<description><![CDATA[Another day, another bunch of clips from U.S. indies playing at Cannes. Above there is a quick snippet, featuring Marion Cotillard and Jeremy Renner, from James Gray&#8217;s period drama The Immigrant (previously called Lowlife). The Weinstein Company will be putting out the film (also starring Gray regular Joaquin Phoenix) later this year and, barring terrible reviews from Cannes critics, it should be a 2013 awards contender. Below are a teaser trailer and a clip from Jeremy Saulnier&#8217;s second feature, Blue Ruin, which looks incredibly compelling and has the potential to establish the director (who mostly plies his trade as a &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70828-cannes-2013-first-clips-from-grays-the-immigrant-and-saulniers-blue-ruin/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Trailer Watch: Calvin Reeder&#8217;s The Rambler</title>
		<link>http://filmmakermagazine.com/70822-trailer-watch-calvin-reeders-the-rambler/</link>
		<comments>http://filmmakermagazine.com/70822-trailer-watch-calvin-reeders-the-rambler/#comments</comments>
		<pubDate>Fri, 17 May 2013 15:37:00 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Calvin Reeder]]></category>
		<category><![CDATA[The Rambler]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70822</guid>
		<description><![CDATA[I sadly missed Calvin Reeder&#8217;s The Rambler when it played at Sundance this January, but the film is having a theatrical release starting June 7 (at the reRun Theater!) so I will be checking it out very soon. This first trailer for the film certainly has whetted my appetite even more, and confirms just how crazy and out there Reeder&#8217;s movie really is.]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70822-trailer-watch-calvin-reeders-the-rambler/feed/</wfw:commentRss>
		<slash:comments>0</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>
		<wfw:commentRss>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/feed/</wfw:commentRss>
		<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>
		<wfw:commentRss>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/feed/</wfw:commentRss>
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		<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>1</slash:comments>
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		<title>Win a Copy of Side Effects</title>
		<link>http://filmmakermagazine.com/70669-win-a-copy-of-side-effects/</link>
		<comments>http://filmmakermagazine.com/70669-win-a-copy-of-side-effects/#comments</comments>
		<pubDate>Thu, 16 May 2013 16:16:30 +0000</pubDate>
		<dc:creator>Billy Brennan</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Catherine Zeta-Jones]]></category>
		<category><![CDATA[Channing Tatum]]></category>
		<category><![CDATA[Jude Law]]></category>
		<category><![CDATA[Rooney Mara]]></category>
		<category><![CDATA[Side Effects]]></category>
		<category><![CDATA[Steven Soderbergh]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70669</guid>
		<description><![CDATA[As described on its official site, &#8220;Side Effects is a provocative thriller about Emily and Martin (Rooney Mara and Channing Tatum), a successful New York couple whose world unravels when a new drug prescribed by Emily&#8217;s psychiatrist (Jude Law) – intended to treat anxiety – has unexpected side effects.&#8221; Dripping with generous tastes of Hitchcock and Henri-Georges Clouzot, the film has been described by The Guardian as, &#8220;a gripping psychological thriller about big pharma and mental health that cruelly leaves you craving one last fix.&#8221; Now, you can win one of five copies of Side Effects if you are one of the first to &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70669-win-a-copy-of-side-effects/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Frances Ha — A Hammer To Nail Review</title>
		<link>http://filmmakermagazine.com/70635-frances-ha-a-hammer-to-nail-review/</link>
		<comments>http://filmmakermagazine.com/70635-frances-ha-a-hammer-to-nail-review/#comments</comments>
		<pubDate>Thu, 16 May 2013 15:38:11 +0000</pubDate>
		<dc:creator>Michael Tully</dc:creator>
				<category><![CDATA[Columns]]></category>
		<category><![CDATA[Frances Ha]]></category>
		<category><![CDATA[Greta Gerwig]]></category>
		<category><![CDATA[Noah Baumbach]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70635</guid>
		<description><![CDATA[Frances Ha world premiered at the 2012 Toronto International Film Festival. It is being distributed by IFC Films and opens theatrically on Friday, May 17, 2013. Visit the film’s official website to learn more. Just when it seems oh so skull-poundingly clear that the world really, really, really does not need yet another portrait of confused Caucasian 20-somethings who are fumbling and bumbling their way through the posh shopping mall that is 21st century New York City, along comes a cinematic delight like Frances Ha to soothe ones agitated nerves like a tingly pill of Vicodin. And though the fact &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<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>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Cannes 2013: First Clips from Payne&#8217;s Nebraska and Jarmusch&#8217;s Only Lovers Left Alive</title>
		<link>http://filmmakermagazine.com/70602-cannes-2013-first-clips-from-paynes-nebraska-and-jarmuschs-only-lovers-left-alive/</link>
		<comments>http://filmmakermagazine.com/70602-cannes-2013-first-clips-from-paynes-nebraska-and-jarmuschs-only-lovers-left-alive/#comments</comments>
		<pubDate>Wed, 15 May 2013 16:30:44 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Filmmaker Videos]]></category>
		<category><![CDATA[Alexander Payne]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[Jim Jarmusch]]></category>
		<category><![CDATA[Nebraska]]></category>
		<category><![CDATA[Only Lovers Left Alive]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70602</guid>
		<description><![CDATA[Two of the big U.S. films playing at Cannes this year &#8212; Alexander Payne&#8217;s black-and-white dramedy Nebraska and Jim Jarmusch&#8217;s vampire flick Only Lovers Left Alive &#8212; have both released clips today. Above, from Nebraska, father and son Bruce Dern and Will Forte are joined by a weaselly Stacy Keach, and below you can check out two short bursts from Jarmusch&#8217;s movie, featuring leads Tilda Swinton, Tom Hiddleston, Mia Wasikowska and Anton Yelchin. We&#8217;ll have more on both films here on the Filmmaker website once they have screened on the Croisette.]]></description>
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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>
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		<slash:comments>1</slash:comments>
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		<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>
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		<slash:comments>3</slash:comments>
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		<title>Cannes 2013: Veterans Return to the Croisette</title>
		<link>http://filmmakermagazine.com/70574-cannes-2013-veterans-return-to-the-croisette/</link>
		<comments>http://filmmakermagazine.com/70574-cannes-2013-veterans-return-to-the-croisette/#comments</comments>
		<pubDate>Tue, 14 May 2013 17:23:13 +0000</pubDate>
		<dc:creator>Stephen Garrett</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70574</guid>
		<description><![CDATA[There’s a good reason James Toback named his new Cannes-set showbiz documentary Seduced and Abandoned (unspooling here May 20). No other film festival is quite as alluring – and none has an audience as uniquely emotional. As the world’s premier showcase for cinema, Cannes is arguably the most extravagant way to introduce a film on an international stage. That said, expectations are high and reactions can tack violently from swoon-worthy praise (Michael Haneke’s 2012 drama Amour received the most recent tsunami of adoration) to outright condemnation (just ask Johnny Depp or Vincent Gallo about their respective directorial fiascos, 1997’s The &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Letters from Blocked Filmmakers: Michael Lew</title>
		<link>http://filmmakermagazine.com/70052-letters-from-blocked-filmmakers-michael-lew/</link>
		<comments>http://filmmakermagazine.com/70052-letters-from-blocked-filmmakers-michael-lew/#comments</comments>
		<pubDate>Tue, 14 May 2013 14:00:51 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Chantal Akerman]]></category>
		<category><![CDATA[Film Independent]]></category>
		<category><![CDATA[Letters from Blocked Filmmakers]]></category>
		<category><![CDATA[Michael Lew]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70052</guid>
		<description><![CDATA[Get together for drinks with a group of people who work in film, and soon the memories will flow. And they are usually linked to films these people have worked on. Film titles become markers of memory. It was on that film that this electrician met his future wife. On this one a P.A. adopted her dog. The sound guy was going through a divorce on this other one. The films may have faded from our collective memory, but the days on those sets are still ripe for the people who were involved. In reading this letter from Michael Lew, &#8230;]]></description>
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		<slash:comments>3</slash:comments>
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		<title>Insider Tips for Surviving the Cannes Film Festival</title>
		<link>http://filmmakermagazine.com/70298-insider-tips-for-surviving-the-cannes-film-festival/</link>
		<comments>http://filmmakermagazine.com/70298-insider-tips-for-surviving-the-cannes-film-festival/#comments</comments>
		<pubDate>Tue, 14 May 2013 13:00:44 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Cannes Film Festival]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70298</guid>
		<description><![CDATA[For those headed to the South of France this week, Filmmaker has polled our friends and colleagues for their advice on attending the Cannes Film Festival. Even if you are not a first-timer there&#8217;s something here for you, ranging from day-trip suggestions to business etiquette to restaurant tips. If you are a first-time attendee, take these especially to heart, and if you&#8217;re a returning veteran and have tips, feel free to post them below. See you on the Croisette. Ben Gibson (director, London Film School, and producer): Been doing this advice for many years: Have a meal with someone you&#8217;ve &#8230;]]></description>
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		<slash:comments>3</slash:comments>
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