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The Editor's Blog
Contemplations and digressions from Filmmaker's Editor-in-Chief by Scott Macaulay
Filmmaker Issue #122 Out Now (Along With a Flash Subscription Sale)
Teyana Taylor and Aaron Kingsley Adetola in A Thousand and One. Filmmaker‘s issue #122 is arriving in mailboxes and at newsstands now, and in conjunction we’ve launched a Spring Subscription sale until Sunday. For the first time, we’re discounting our print and digital subscriptions by 50%. A one-year digital subscription — which includes our archives back to 2007 — is just $5. In the US, a print subscription is just $9. Both subscriptions include access to all paywalled content as well as Filmmaker on Exact Editions, which offers fantastic browser and tablet reading. (Check out a sample issue here.) Your subscriptions help underwrite all of our editorial content, including on the web, so if you’re a reader but not a subscriber, I hope you take this opportunity. Go here and use coupon code SPRINGFLASH.
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On the cover of our new issue is Teyana Taylor in A.V. Rockwell’s sweeping, Sundance-winning tale of mothers and sons in a Guiliani-era gentrifying New York. Interviewing Rockwell, who previously appeared on Filmmaker‘s 25 New Faces list, is Chinonye Chukwu, director of the futures Till and Clemency. Our other director interviews include a great, sprawling dialogue between Guy Maddin and Kelly Reichardt on the occasion of the latter’s forthcoming release of Showing Up, her serio-comic dive into the emotional complexities of the artist’s life. Another 25 New Face, Andrew Norman Wilson, talks with Cyril Schäublin about Unrest, the latter’s tale of anarchism and watchmaking. And Vadim Rizov speaks with Joana Pimenta and Adirley Queirós about their dystopian reach for the imaginary, Dry Ground Burning.
Our major long-form article is by filmmaker Naomi McDougall-Jones and Liz Manashil, “Producer Data: The Numbers Don’t Lie.” Are you a filmmaker working on a business plan and wondering the revenue range for purely independent features? This article, complete with an assortment of graphs, will help — although its answers may be a bit more sobering than you’d want. As an addendum to the piece, I interviewed four filmmakers who contributed data to the survey that provided the basis for the article about their own specific distribution routes (and revenues). And for those who want to go a bit deeper, I’ll be moderating a Zoom conversation with McDougall-Jones and Manashil on April 11 from 6:00 – 7:30PM Eastern. This conversation is limited to subscribers, but I’m including subscribers to our free weekly newsletter. So if you’re interested in attending, click here and either subscribe to print or digital (using coupon code SPRINGFLASH) or just the newsletter.
It’s in the Spring issue that we cover location shooting, and for this issue we’ve got Matt Mulchahey with a primer on virtual stages — or “volumes” — and how they’re transforming physical production. I also contribute a look at various changes in the film tax credit landscape in the U.S. There’s plenty more, which you can read about here on the issue landing page.
