Authors — Scott Macaulay
-
Appropriate Behavior and Obvious Child D.P. Chris Teague
In every young filmmaking scene, there are always one or two up-and-coming DPs you want to shoot your movie. These are the guys, or women, who have shot award-winning student films, who have loyal crews, and who know how to bring extra style, assurance and compositional smarts to first-time features. In the New York independent film community, Chris Teague has been one of those folks, and this year his talents are receiving greater recognition at Sundance, where two of his narrative feature films are debuting. In the Premiere section is the debut of Gillian Robespierre’s Obvious Child, a sly comedy […]
by Scott Macaulay on Jan 18, 2014 -
Gun Crazy
Revenge is a dish best served cold. That famous proverb has provided the template for many a revenge thriller, as steely protagonists emotionlessly hunt and mow down the enemies that have caused them pain and suffering. With a slight eyebrow raise or lip quiver, ’60s and ’70s icons Charles Bronson, Clint Eastwood and Lee Marvin meted out their justice with a hypnotic intensity. Later, Arnold Schwarzenegger, Steven Seagal and Robert Englund (as Freddy Krueger) added touches of black humor in the form of sardonic, post-killing one-liners. But by the early aughts, the revenge thriller would seem to have run its […]
by Scott Macaulay on Jan 17, 2014 -
Editor’s Letter
I’m often surprised to meet filmmakers who ask about some so-called Golden Age of independent film, a time in the ‘90s or ‘80s or maybe even ‘70s when, they believe, financing was more plentiful, budgets were larger and the movies themselves maybe even felt a bit more meaningful. As a thought exercise, I ask, would you take a time machine back to those days? When pressed, people answer no for one simple reason: they don’t want to give up today’s tools. Desktop editing, cheap cameras, crowdfunding, social media and now, as Randy Astle exhaustively catalogues in this issue, we have […]
by Scott Macaulay on Jan 17, 2014 -
CPH:DOX 2013
“Mission accomplished.” That might have been the motto of the 2013 edition of CPH:DOX. If, at one point, this doc festival’s liberal definition of “reality” roiled nonfiction traditionalists (it was the fest, after all, that gave its 2009 top award to Harmony Korine’s Trash Humpers), those days are long since gone. As BBC Storyville’s commissioning editor Nick Fraser commented at a panel on hybrid journalism, there’s almost an expectation by contemporary audiences that documentaries today — not just at CPH:DOX but everywhere — will play with concepts of truth and fiction. “Is there anything left of the tradition of objective […]
by Scott Macaulay on Jan 17, 2014 -
I Am A Camera
About halfway through the documentary Tim’s Vermeer, the San Antonio-based inventor Tim Jenison is granted a private viewing of Johannes Vermeer’s “The Music Lesson” at its private exhibition site, Buckingham Palace. The Queen had originally denied Jenison’s request, but after a certain amount of cajoling she relented — although cameras weren’t allowed and Jenison’s collaborators, director Teller and producer Penn, of the anarchic stage magic duo Penn & Teller, were asked to stay behind. Jenison spends one half hour with the painting — the Vermeer work he’s been diligently replicating in his Texas studio — and emerges shaken. As Teller […]
by Scott Macaulay on Jan 17, 2014 -
Observe & Report: Godfrey Reggio, Jon Kane and Trish Govoni on “the Perfected Image” of Visitors
Alternately lulling and urgent, otherworldly and deeply intimate, visionary filmmaker Godfrey Reggio’s Visitors is a film like no other. With its 74 shots — most feature films have hundreds if not thousands — and exquisite black-and-white imagery, it is, as Reggio says, “the odd one in” in today’s multiplex environment. And even with its Philip Glass score — mournful, haunting and one of the composer’s best — it still feels radically different than Reggio and Glass’s previous collaborations, the poetic films comprising the “Qatsi Trilogy.” No less visually seductive than those works, the non-narrative Visitors uses its images — which […]
by Scott Macaulay on Jan 17, 2014 -
Jonathan Harris on Becoming Unstuck
Even though technology-focused artist Jonathan Harris has a project at Sundance New Frontier — I Love Your Work, a documentary about the makers of lesbian porn experienced in your own private viewing booth — he’s been stuck. Creatively stuck, that is. And at Transom, he’s penned (and illustrated) an essay, “Navigating Stuckness,” that is both a meditation on creative block as well as, writes the site, “an autobiographical journey with teachable moments.” He’s broken down the stages of his creativity by years, tracking his life alongside projects like the data visualization work We Feel Fine, the storytelling platform Cowbird and […]
by Scott Macaulay on Jan 17, 2014 -
21 Films I’m Anticipating at the 2014 Sundance Film Festival
These lists get harder and harder. You know more filmmakers, you hear more buzz and honing in on pre-festival favorites with any kind of concision becomes more an act of exclusion than a celebration of possibility. (In other words, this list’s length is more determined by the pokiness of Delta’s on-flight wi-fi and the festival opening-day deadline than my enthusiasms for the selections of the 2014 Sundance Film Festival.) Below are 21 festival picks, beginning with a favorite project I’ve been wanting to see realized for years. As you’ll note, I’ve paid particular attention to folks from our 25 New […]
by Scott Macaulay on Jan 16, 2014 -
Tastemade Offers Video Previews of Sundance Restaurants
I have many pieces of advice for filmmakers, but here’s one I have for everyone attending the Sundance and Slamdance festivals this week: sit down and have a meal. Really. I mean, it’s ridiculously easy to subsist on hors d’oeuvres for a week, or to grab microwave burritos at the 7/11, or to nibble from the Albertsons/Fresh Market supply you loaded your refrigerator up with on the first day. But, such a dietary regime will make you feel bad, and you’ll probably get sick too. In addition, you’ll have better conversations with your friends over dinner at a real restaurant […]
by Scott Macaulay on Jan 16, 2014 -
Columbia Professor Tim Wu Responds to Manohla Dargis’s “Too Many Movies” Argument
Credit Manohla Dargis for kicking up a big discussion about the intertwined economics and cultural worth of independent film with her much-debated “As Indies Explode, An Appeal for Sanity” published in the New York Times. While her plea to distributors to stop buying so many movies struck Sundance-bound hopefuls as, well, a little mean, others are viewing her commentary in different ways. The latest is Columbia professor and journalist Tim Wu, who has penned a New Yorker response, “More is More in Independent Film.” “Dargis is wrong,” he flat-out writes, “making lots of films to yield a few hits is […]
by Scott Macaulay on Jan 16, 2014
