Filmmaking
Filmmaking
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Crowdf@*%ing 2014
The following is a guest post from director, writer and actress Bethany Orr, whose untitled Iceland-set, psychosexual drama is currently raising funds on Indiegogo in a campaign titled “Iceland or Bust.” Click here at the link to learn more and to support the project. Okay, so you’re not Zach Braff. The market is saturated with projects competing for attention and the hard-earned dollars of YOUR potential supporters. So why crowdfund in 2014? Hasn’t that train left the station? I mean, it’s a huge risk, what if you embarrass yourself? Crowdfunding is, after all, the quickest new way to get unfollowed […]
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Kevin Smith, Joshua Oppenheimer and Other Additions to 2014 TIFF Lineup
Following the announcement of its Special Presentation and Gala selections last week, this morning TIFF released the Documentaries, Masters, Midnight Madness and Vanguard programs for the upcoming festival. That just leaves Mavericks, Discovery, Wavelengths, Contemporary World and several others to go. 17 world premieres have been added, along with Cannes (Godard, Sissako, Zvyagintsev, Polsky, Wiseman, Mitchell) and Venice (Andersson, Oppenheimer, Hong Sang-soo) holdovers. You’ll note that the ‘Canadian Premiere’ asterisk likely indicates a Telluride bow. Artistic Director Cameron Bailey spoke to the LA Times about the new ruling on premiere statuses, as a result of the immediate media narratives that take shape on Twitter moments after credits […]
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Reviewing the ProAm Taurus Jr. Crane
With all the attention on brushless gimbals it’s easy to overlook cranes — pieces of equipment that can add cinematic motion to any shot. Cranes can also be large, difficult to move and hard to operate. The ProAm Taurus Jr is a small crane that solves most of those problems; its only limitation is that its range of motion may not meet every need. The Taurus Jr is 50” long and 5 ¾” wide and constructed primarily of two parallel rectangular tubes that are 2” x 1”. It is primarily constructed of powder coated and anodized aluminum. The only item that […]
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Last Call for Heroes
I had a dream the other night, and all my filmmaking heroes were there. Young, full of vision, light in their eyes. A party at a swanky bar. Then last call was called. And the lights came up. And Orson Welles was drunk, huge, exhausted. And Nicholas Ray, with an eye patch, was chain smoking. And Hal Ashby was haggard, mumbling to himself in the corner about someone taking away his final cut. The horror stories of my heroes haunt me. What is it that happened to them? Did they bring it on themselves with youthful hubris and defiance? Were […]
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Lucy: The Hyena Montage Theory
In a statement published in the Nov. 24, 1962 Film Culture, Pier Paolo Pasolini thought about how a simple metaphor can be conveyed onscreen, starting from one solution he rejected as overall unsound: “Let us consider the following written or spoken statement: ‘Gennarino looked like a hyena.’ […] The attempt has been made to juxtapose a hyena with Gennarino by joining two frames: one showing Gennarino grinding his teeth and the other showing an actual hyena with its teeth bared. Now, I won’t say that something like this could never be done legitimately. But it would be inconceivable to think […]
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Screening Abel Ferrara’s Director’s Cut of Cat Chaser
After Cat Chaser, Abel Ferrera was reluctant to give up final cut again, not without a fight anyways. The erotic thriller’s 1989 theatrical release, complete with a clunky voiceover ghosted by another actor because leading hunk Peter Weller refused, has a fundamentally different character from Ferrera’s director’s cut currently housed in the basement at Anthology Film Archives. Last Tuesday, Anthology screened the only known copy, on video with time code, a rough audio mix, and without a score, for the first time maybe ever since it played on the Fox lot to studio bigwigs in the ’80s. That’s the last […]
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Happy Christmas Director Joe Swanberg on the Financial Life of the Independent Filmmaker
“Transparency benefits everybody.” That’s Joe Swanberg, whose recommended Happy Christmas opens today, talking about distribution dealmaking, but he might just as well have been talking about all aspects of his career and financial life. Indeed, Swanberg is nothing but transparent in this long interview with producer, director and ArtHome founder Esther Robinson focused specifically on making a living as a writer/director — precisely the subject most directors won’t issue a comment on. The interview was conducted for Robinson’s current piece in the new print edition of Filmmaker, “Still on the Job,” in which she revisits several directors featured in an […]
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Behaving Badly in Nathan Silver’s Stinking Heaven
I love being on set. Mine, yours, whomever’s. I like eating exorbitant amounts of food. I like idle conversation. I like the feeling you get when sleep deprivation kicks in and the dullest minutiae is suddenly hilarious. But mostly I like being around a group of people who have cast aside their better judgement to create something together. So when Nathan Silver asked if I wanted to come to the Stinking Heaven set, I gladly hopped the train to Passaic. I was excited to see how Nathan, who works from outlines and improvisation, constructs a film from the ground up. The following is a loosely timestamped diary […]
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Stray Links, 7/21-7/25
Starting this week, I’ll be posting a round-up of stray news items and articles — mostly film, though not all — that caught my eye. Let’s get started: • The great Michael Almereyda’s short film Skinningrove won the short film jury award at Sundance this year, and now you can watch it at the New York Review of Books. It’s about 15 minutes of photographer Chris Killip discussing and showing mostly unpublished photos of the titular Yorkshire village from the ’80s. • Here’s an interesting obituary for Thomas C. Senesac, owner of Chicago’s Acme Prop Rental, a company which got […]
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Applications Open for Dogfish Accelerator
Last year, I did a lengthly profile on Dogfish Pictures’ inaugural Accelerator program, which adapts a start up financing model to the independent film landscape. Dogfish equips each of its selected participants with seed financing and an office space where they’ll develop their product(s) over the course of nine-weeks, with added input from mentors. The program is capped off by a demo day, in which a member from each team pitches to a room full of investors, industry personnel and lowly journalists like myself. Applications are now open for the second edition of Accelerator through August 8, but this year, James Belfer and Co. are widening the field. “Content […]
