Sundance Institute announced today the recipients of this year’s Sundance Institute Documentary Fund, which awarded unrestricted grants with a total granting pool standing at $1,450,000 to 28 projects. From the press release: The Documentary Fund prioritizes the support of artists from historically marginalized communities and seeks to amplify global voices telling crucial stories. More than half of the grant proposals came from outside the U.S., with the final group of grantees representing 25 countries. The majority of projects (92%) receiving grants are directed by artists from communities that have been traditionally marginalized and 60% are from first-time feature directors. Through […]
by Filmmaker Staff on Aug 1, 20241 This Long Century Tucked away in a remote corner of the Internet is THIS LONG CENTURY, a remarkable collection of artistic contributions from some of the great creative minds of our time. Founded by New Yorkers Stefan Pietsch and Jason Evans, the website gives its mission statement as: “Bringing together such intimate work as sketchbooks, personal memorabilia, annotated typescripts, short essays, home movies and near impossible to find archival work.” The more than 200 luminaries who have shared their work include Luc Sante, Vivienne Westwood, Richard Hell, Albert Maysles, Kelly Reichardt and Miklós Jancsó. 2 Drag City books Drag […]
by Filmmaker Staff on Apr 23, 2013Last year on the Filmmaker website, we ran a series of pieces in which we profiled a group of finalists for the San Francisco Film Society’s Kenneth Rainin Foundation Filmmaking grant, run through the organization’s Filmmaker360 program. Now there’s a new set of finalists, and we are once again putting the spotlight on all those shortlisted for the grant. JOSEF WLADYKA, MANOS SUCIAS Synopsis: A desperate fisherman and a naive young man embark on a dangerous journey trafficking drugs up the Pacific coast of Colombia. Hidden beneath the waves, they tow a narco-torpedo filled with millions of dollars worth of cocaine. Together they […]
by Filmmaker Staff on Mar 25, 2013[PREMIERE SCREENING: Sunday, Jan. 20, 9:00pm — Temple Theatre, Park City] Our film wasn’t planned. As the events of Occupy Wall Street began to unfold, and Audrey [Ewell] and I decided to make a film around it, we basically went from working on other projects (our own follow-up film to Until The Light Takes Us, as well as the paying freelance work that pays our rent) to instantly being in production on an unbudgeted and risky film project that used an untested methodology to bring it to life, and that relied on the abilities and collaboration of people we’d never […]
by Filmmaker Staff on Jan 19, 2013[PREMIERE SCREENING: Sunday, Jan. 20, 12:15pm — Eccles Theatre, Park City] Talking about sacrifices when you’ve been given the means to actually make your movie seems a bit glib – but you make them all the same, and perhaps spend an exorbitant amount of time fretting about them late at night, hoping they don’t show up on screen. On this film, there were two forfeitures in particular that went hand in hand. First: for budgetary reasons, we couldn’t shoot our movie in Texas. As a filmmaker from the Lone Star State who enjoys making movies set therein, this was somewhat heartbreaking, and […]
by Filmmaker Staff on Jan 19, 2013[PREMIERE SCREENING: Saturday, Jan. 19, 5:30pm — Library Center Theatre, Park City] In order to make The Lifeguard this summer, I had to sacrifice time with my son, nine months old when we began prep in Pittsburgh. He moved with us – me, my husband (a producer on the film) and his babysitter from LA, and we set up camp at a residence hotel. There were days when we barely saw him, because we shot all night and slept into the afternoon, only to leave again just as he was having his evening bath. What time we had together was […]
by Filmmaker Staff on Jan 18, 2013[PREMIERE SCREENING: Friday, Jan. 18, 9:00pm — Salt Lake City Library Theatre, Salt Lake City] To make Stories We Tell, I think I sacrificed any semblance of an equilibrium for five years. It was terrifying to make a film about the people closest to me. The potential consequences of damaged or severed relationships hung over me and haunted me, the weighing of truth versus fiction in my family’s lives and how the exposure of that balance would surely effect us all, was at times almost too much to bear. Spending hours on end in an editing room reliving some of […]
by Filmmaker Staff on Jan 17, 2013[PREMIERE SCREENING: Friday, Jan. 18, 3:00pm — Egyptian Theatre] Our biggest personal sacrifice would be our time. Both having large families, this is a limited commodity. Fortunately for us, our marriages are still intact. From the writing to shooting, we worked beyond expectation beginning “our own” pre-production months before money was on hand and going well beyond after we were told the budget was broke to ensure we had a solid level of preparation. This cost us personally financially yet has been one of the main contributing factors allowing for the quality we now see in the frame. Basically it’s […]
by Filmmaker Staff on Jan 17, 2013[PREMIERE SCREENING: Friday, Jan. 18, 11:30am — Prospector Square Theatre] Making a movie, you’re expected to sacrifice sleep and if you’re fortunate enough to have one, a life…for a time. Even sanity, some say. But in the context of making this film, I prefer to think of sacrifice in the vein of sacrificing a chicken or a goat to a spirit. Sacrificial sacrifice. For something magical you could never understand. Because making this film was that for me. There were no “Damn, I wish I was doing something else” days. I didn’t get sick. I wasn’t at war with a lover. It […]
by Filmmaker Staff on Jan 17, 2013The following Q&A is an excerpt from a conversation between filmmaker John Henry Summerour and John DeVore, a writer for The Pulse, Chattanooga’s weekly alternative. (DeVore’s Pulse feature on Summerour can be found here.) Summerour discusses the importance of his personal relationship with the South in making his newest film Sahkanaga (“Great Blue Hills of God” in Cherokee), which is inspired by the Tri-State Crematory scandal. In 2002, it was discovered that over 300 bodies that had been committed to the crematory in Georgia for proper disposal were never cremated and instead buried or left in a shed and the […]
by Filmmaker Staff on Dec 4, 2012