Filmmaking
Filmmaking
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(Screen)Play Press Launches, Announces Six Inaugural Titles
Mexican-American filmmaker Eva Aridjis announced today the launch of (Screen)Play Press, which will publish scripts that have not yet been developed into feature films. Founded by Aridjis and fellow filmmaker/screenwriter Christine Vartoughian over a cup of coffee this past May, the first six titles published by (Screen)Play Press specifically spotlight scripts written by women. Each title will be available in paperback and e-book versions. “What we’d really love to emphasize is how many great un-produced screenplays we know are out there, and our desire to get these stories out into the world regardless of whether or not a film version […]
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A Schoolhouse for Cinephiles: In Praise of Light Industry
After 11 years of residence in Greenpoint, co-founders Ed Halter and Thomas Beard are moving their microcinema, Light Industry—dedicated to screening film and electronic art in Brooklyn since 2008—to Williamsburg. Ed and Thomas found inspiration for Light Industry in Amos Vogel, who founded the New York Film Festival, pioneered early alternative film spaces such as Cinema 16 and once wrote that “the avant-garde’s delight in the unpredictable, its insistence on the deconstruction of ossified codes, its probing of the unacceptable, signify gestures of freedom in an increasingly commercialized cinema.” I would repeat this remark, word for word, about the indispensable […]
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The Evolution of Impact: The Future of Social Change and Nonfiction Storytelling
The conversation about documentary impact has undergone a number of shifts since impact producing began to emerge as a practice within the documentary field around 20 years ago. Today it is almost expected that a social issue documentary film will be accompanied by an impact campaign to help ensure its story will reach audiences and motivate them towards social change, deeper engagement with a story’s themes and further learning. But earlier, things were different—the argument had to be made that some documentary filmmakers should focus on impact and to develop best practices for engaging audiences around a film and its […]
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Artlist Launches FXhome by Artlist Video and Image Editing Software (Sponsored Post)
Artlist, a creative technology company with innovative post-production software and over one million digital assets available under an innovative global license that covers every product worldwide, announced today the introduction of the first software release under the FXhome by Artlist brand: an upgraded video, VFX and image editing program with improvements and new subscription plans. Launched in 2016, Artlist is becoming a top 360-degree solution for content creators. Recognized as a top startup by LinkedIn and WIRED, Artlist counts Google, Apple and Nike among its 17 million clients. Artlist already offers four products: Artlist.io, a royalty-free music and SFX platform; […]
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All Tomorrow’s Yesterdays: Keith Gordon, Radley Metzger, Errol Morris and Christopher Münch on the Films of Alain Resnais
In 2000, Filmmaker, timed to a traveling retrospective, asked four directors to reflect on the work of legendary French film director Alain Resnais. We are reposting this piece now as another retrospective, Film Forum’s Alain Resnais 100, opens tomorrow. The below films, with the exception of Je T’aime, Je T’aime, are all also streaming now on the Criterion Channel. See as well this article’s original sidebar, in which producer Anatole Dauman reflects on the making of Night and Fog and Hiroshima, Mon Amour. — Editor Perhaps more than those of any other modern director, the films of Alain Resnais are […]
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U.S. in Progress Submissions Now Open for American Independents Seeking Finishing Funds
Submissions are now open for the 2022 edition of U.S. in Progress, which awards $100,000 in post-production services to American independent filmmakers with films in post-production. The event will take place November 9 – 11 at the American Film Festival in Wroclaw, Poland, where American projects in their final stages will meet European buyers as well as top Polish image and sound post-production companies. From the press release: The program’s objective is to inspire U.S. producers to work with Poland, either by fostering co-productions or to connect them with services and, for future projects, locations. The Polish Film Institute offers […]
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Remembering Director of Photography Tom Richmond, 1950-2022
This piece has been updated after publication with comments from Keith Gordon. — Editor Director of photography Tom Richmond, who shot numerous seminal features that launched many directorial careers, died yesterday in New York City. He was 72. Tom’s career began in the early ’80s. After graduating Harvard with an undergraduate photography degree and then going on to study at AFI, he worked second camera on Alex Cox’s Repo Man and was camera operator on Oliver Stone’s Salvador, among other credits. After several low-budget comedy and horror films, Tom was director of photography on two higher-profile films: Cox’s Straight to Hell […]
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Apply for the Lynn Shelton “Of a Certain Age” Grant
The Lynn Shelton “Of a Certain Age” Grant is now accepting applications. The unrestricted $25,000 cash grant will be offered to a woman, non-binary or trans filmmaker 39 years or older who has not yet helmed a narrative feature. The grant was established by Northwest Film Forum alongside Duplass Brothers Productions in 2020 after Lynn Shelton’s untimely passing. Some of the late, Seattle-based director’s films include We Go Way Back (her 2006 debut feature), Humpday (2009), Laggies (2014) and Sword of Trust (2019). Shelton was inspired to make her first film at age 39 after learning that French auteur Claire […]
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“This Experience Really Felt Rare”: Justin Ducharme on Sundance Native Lab 2022
With the Sundance Native Lab having returned to a (hybrid) in-person model for the first time in two years, Filmmaker asked 2022 fellows to reflect on their recent experiences through short diary entries. Read the rest of the 2022 cohort’s responses. It’s an interesting thought process trying to find the right words to describe my time at the Sundance Film Festival’s Native Film Lab. From the beginning. there was an obvious feeling of kismet, an almost too good to be true energy to have when going into any creative development lab, let alone one from an institute like Sundance. But I guess […]
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“I’m Talking Emotional Tension in the Room”: Taietsarón:sere “Tai” Leclaire on Sundance Native Lab 2022
With the Sundance Native Lab having returned to a (hybrid) in-person model for the first time in two years, Filmmaker asked 2022 fellows to reflect on their recent experiences through short diary entries. Read the rest of the 2022 cohort’s responses. After a week of online Zoom meetings and activities, it was finally time to fly to Santa Fe for our in-person portion of the Native Lab. My first time traveling in ages. One of the rare flights during the end of the pandemic. As soon as I got to the gate, I immediately recognize two other people going to the lab […]
