Filmmaking
Filmmaking
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Panavision’s Dan Sasaki on their Large Format Digital Lenses, the Primo 70
Late last year Panavision introduced a new lens line, the Primo 70. These lenses are specifically designed for use on larger sensor digital cameras and, according to Panavision, cannot be used on film cameras. We spoke with Dan Sasaki, VP of Optical Engineering at Panavision, about the development of these lenses, and how they differ from film lenses. Filmmaker: What was the impetus for developing digital lenses? Sasaki: Our Primo 35 lenses have been around since the late ’80s, early ’90s, and they are designed to work with film cameras. The Primo lenses have what’s called the blue line shift on […]
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Wealth and The Game: Five Miscellaneous Observations on The Jinx
Like a lot of people, I’ve been hypnotized the past few weeks by Andrew Jarecki’s six-part HBO miniseries The Jinx. I’m not a TV writer, and I didn’t take notes while watching. These are five stand-alone observations in the interest of sharing in collective fascination with the series. NB: this is nothing but spoilers. 1. It’s completely germane that Andrew Jarecki (Princeton alum, father of a successful businessman, Moviefone co-founder) comes from money — his is surely the only family in America with the means to produce three documentary filmmaker siblings in the same generation. This privileged perspective has bitten […]
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In Memoriam: Richard Glatzer and Grief
When I first I met Richard Glatzer, it seems all we talked about was grief. It was the early 90’s and grief was part and parcel to far too many dinner conversations back then. But Richard wanted to do something more than just talk about grief; he wanted to make a movie about it. We had met at Sundance where he had given me a script he wrote and asked me to play the lead. As I started reading Grief, I was immediately impressed by how funny, touching, and wise it was — hardly the somber meditation on death the title implied. Halfway through, there was […]
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Live Streaming Panels from SXSW Saturday and Sunday, in Partnership with The CreativeLive Film Channel and The Wrap
Filmmaker Magazine is partnering with The CreativeLive Film Channel and The Wrap to present two days of streaming filmcraft dialogues and panels live from the SXSW Film Festival in Austin, Texas. The sessions will include a range of filmmakers, screenwriters, producers, entrepreneurs, and film entrepreneurs who help define the modern space of film. Scheduled to appear are: Robert Duvall, Adrien Brody, Ondi Timoner, Hal Hartley, Andrew Droz Palermo, Mickey Keating, and many more. Check out Sunday’s schedule below. All times are CST. 10:00 – 10:15: Ondi Timoner (Brand: A Second Coming); Andrew Droz Palermo (One and Two) Conversations presented by The Wrap and moderated by CEO/Editor-in-Chief […]
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“You Can’t Make This Stuff Up”: Alison Bagnall on Funny Bunny
Funny Bunny, Alison Bagnall’s third feature, opens with a man shuffling door to door in suburban, middle-class Philadelphia. He’s not pitching bibles, but rather, a means to an end of the childhood obesity epidemic. Gene (Kentucker Audley) is just one player in the off-kilter, quasi-love triangle that takes center stage in Bagnall’s idiosyncratic film, as he’s soon joined by a well-off man-child — the aptly named Titty (Olly Alexander) — and a reclusive, emotionally tenuous young woman named Ginger (Joslyn Jensen), who makes a living peddling her bunny’s ailments on the web. Much like her 2011 two-hander The Dish & The Spoon, Bagnall displays a deft touch for […]
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Dan Berger on Why Oscilloscope is Selling Their 35mm Prints on Craigslist
A somewhat unsettling Craigslist ad made the rounds on Twitter on Wednesday night, offering up “indie film prints” for the grand total of $1. The dollar was a placeholder, but the offer was very much real: Oscilloscope was “cleaning (ware)house” and looking to sell 35mm prints of Wuthering Heights, We Need to Talk About Kevin, and a handful of others to the highest bidder. Though the post is now flagged for removal, I reached out to Oscilloscope’s Dan Berger about why the company was trying to find a new home for their own property. Immediately, he assured me that the future availability of […]
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Fandor to Finance Original Shorts Program
Yesterday, Fandor announced the creation of its FIXshorts program, which invited participants in its FIX initiative to submit a budget and proposal for a short-form production. 5 out of the 34 proposals were selected to receive 50% project funding from Fandor, while the other half will be raised on Kickstarter, promoting a “hybrid process to help filmmakers use several modern fundraising and marketing tools to complete and distribute their projects.” Fandor will provide crowdfunding rewards (including monthly subscription trials) and assist with outreach, in addition to ensuring distribution on the streaming platform. The program will run twice annually, with more projects in consideration for support come […]
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Meta Hairy: David Robert Mitchell’s It Follows
Unlike dopamine-inducing mood enhancers, the opening sequence of unique hybrid It Follows aims for atmosphere, not climax — though that, too, will come. It is cinematic foreplay, simultaneously tease and microcosm. Over the span of several minutes, David Robert Mitchell succinctly anticipates not only the plotline of the narrative, but also its themes and infrastructure. He privileges ambience over character development even more in this genre-bending teen/horror movie than he did in 2010’s Myth of the American Sleepover, the film about growing pains and friendship among youth in suburban Detroit that put him on the radar of film scene machers. Myth was primarily […]
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What Does It Mean to be a Producer?
Alongside her current Kickstarter campaign for Robert Machoian and Rodrigo Ojeda-Beck’s God Bless the Child, producer Laura Heberton pens this guest essay for Filmmaker reflecting on the many different ways one can be a film producer in our Internet age. Both God Bless the Child and another picture produced by Heberton, Alison Bagnall’s Funny Bunny, premiere at the 2015 SXSW Film Festival. This coming Friday, at about 2 o’clock in the morning, I will finally get to meet, in some (probably nondescript) lobby of a hotel in Austin, Robert Machoain and Rodrigo Ojeda-Beck — in person and for the very […]
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Not a Deleuze Lecture, but What? Thom Andersen’s The Thoughts That Once We Had
I’ve heard many mistake the voiceover in Los Angeles Plays Itself as belonging to its writer-director Thom Andersen when it’s actually Encke King. A fair assumption — King speaks in a first person voiceover in a rather curmudgeonly monotone, fitting for the film’s occasionally cantankerous examination of the relationship between the physical spaces of Los Angeles and the way Hollywood films have portrayed them. The real Andersen is a more elusive character. His voice is more casual but less direct, his articulated knowledge of his own projects is tempered, bouncing around a given topic than directly addressing it. He pauses […]
