Each and every frame of a Wes Anderson film is readily distinctive, and not just because of his anachronistic aspect ratios. In the lead-up to the Texan’s Berlinale-winning The Grand Budapest Hotel, an interior design company called Terrys Blinds has fashioned a series of GIFs that showcase six stylistic themes across the directors’ work. Among the GIFs are Anderson’s point of view shots — imbued with a childlike wonder; his use of isolation and contrasting side-by-side staging; and of course, his typefaces. Check them out at the link.

Once upon a time, every article I wrote for Filmmaker had to cross the virtual desk (email) of Managing Editor Nick Dawson. That day has since passed, which is how I am now able to write the following without Nick protesting in embarrassment or deleting my draft. That’s not to say Nick is ever one to tell someone what they can and can’t write. When an eager IFP intern (me) emailed to ask if she could contribute to Filmmaker — too shy to do so in person — Nick’s first response was “Sure,” his second, “Tell me what interests you.” […]

Just in time for President’s Day, Las Marthas, an unlikely and unexpected tribute to America’s founding father, makes its broadcast debut tonight as part of PBS’ Independent Lens Series. Set in the south Texas border town of Laredo, Las Marthas tells of a century-long tradition in which debutantes from both sides of the border commemorate George Washington’s birthday. Both the film and its subject matter stand apart from so many negative expectations about the U.S.-Mexico border — there is no talk here of the drug war or weapons trafficking. Instead, the month of celebrations that culminates with the debutante ball […]

I remember the first time I saw Sherman’s March and realized how revealing autobiographical documentary could be. Filmmakers who turn the camera on themselves run a high risk of self-indulgence, but when done right their films can intimately show the resilience of the human spirit, especially when their challenges appear insurmountable, whether in situations as grandiose as in Ernest Shackleton and Frank Hurley’s South or as ostensibly mundane as Steven Ascher and Jeanne Jordan’s Troublesome Creek. The process of making autobiographical films can even be beneficial for the filmmakers, psychologically or otherwise, provided they place therapy on a backseat to […]

The Total Film-Maker, that invaluable manuscript culled from 480 hours of Jerry Lewis lectures at the University of Southern California, made its way online last week, courtesy of Cinephilia and Beyond. The out-of-print book, which can fetch up to $500 a copy, is now available in PDF form, free of charge, for anyone interested in ingesting every pace of the directorial process from the definitive filmmaker-comic. Conversational and anecdotal, Lewis relates advice and observations that often demonstrate that though the years may change, the times stay the same.  His chapter “The Money Man” concludes, “There is a trend back toward low-budget films […]

1961 — I drove up to the gate of 20th Century Fox studios and hesitantly gave my name to the guard. I had an uneasy moment watching him look at a pad before he greeted me with “Good morning, Mr. Baron” and waved me forward. I steered my car under the elevated train set of Funny Girl and passed several soundstages to a parking area with my name in large white letters written on it. I got out of my car and paused to look at the surrounding studio activity, and the question. “How the hell did I get here?” […]

Childhood friends Bernice (LisaGay Hamilton) and Fontayne (Yolanda Ross) have been out of touch for a few years. When they reconnect, during an early sequence in John Sayles’ 18th feature film Go For Sisters, it is over a desk. Bernice, a parole officer, sits before folders of rap sheets to one side; Fontayne, a former junkie and criminal, fidgets on the other.  It doesn’t take long, however, for the circumstance to turn from professional to personal. When Bernice’s drug running son vanishes near the Mexican border, she calls on Fontayne to help track him down. The two women head South, […]

The name Hemingway carries a many numbered associations, “charmed” and “gifted” not least among them. But from the inside looking out, a far less sensationalized view slides into focus. Likening her namesake to Kennedy, Mariel Hemingway’s preferential description of her lineage can be summed up as “the other American family that had this horrible curse.” A curse — of suicide, depression, mental instabilities, drug and alcohol addiction — that is both respectfully and holistically probed in Barbara Kopple’s latest film, Running From Crazy. The youngest of Jack Hemingway’s three daughters, Mariel was often at odds with the free-spirited nature of […]

If you’re looking to make a horror film simply because you think it might be an easy road to notoriety, you’d be dead wrong. This is a dish that’s best served cold by filmmakers who are fans — those who have long loved being chilled to the bone — so it should be in your blood. If you’re a filmmaker who’s new to horror, immerse yourself in the classics and study their techniques before you set out to try to create a monster of your own. The potential pitfalls you face when making a horror film are what’s really frightening. […]

As I wind up my festival and theatrical run of my film Between Us, it’s gratifying to see the amazing reviews for our four-person ensemble cast, with critics using blurb-ready adjectives like “brilliant,” “razor-sharp” and “career-best” to describe the performances of Julia Stiles, Taye Diggs and Melissa George. David Harbour, in particular, just won the Best Actor prize at the Woods Hole Film Fest, and many reviews agree that he steals the movie in his breakthrough film performance. Naturally, all credit is due to the actors themselves. But a couple people nicely said that I couldn’t have screwed up the […]