Filmmaking
Filmmaking
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The Neverending Story of Self-Distributing The Upsetter
Indefatigable in their desire to find larger and larger audiences for their film, Adam Bhala Lough (Bomb the System, Weapons) and and his co-director Ethan Higbee have been self-distributing The Upsetter: The Life & Music of Lee “Scratch” Perry for what feels like an eternity. The film had its world premiere at SXSW in 2008 and bounced around the festival circuit for the next year and a half, picking up Benicio Del Toro as an executive producer and narrator along the way, while winning generally positive notices in most of its stops. When Lough (one of 2003’s “25 New Faces of Independent […]
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Exploring Transmedia at the IDFA DocLab
It’s been more than a week since IDFA, but I can’t stop thinking about their DocLab program, a competition section showcasing “new and unexpected forms of digital documentary storytelling.” This program presents new non-fiction transmedia projects, each allowing the viewer to interact with the reality the filmmakers have documented and constructed. Most of the projects were presented in screenings or in talks at the excellent DocLab Interactive Documentary Conference. In addition, each was presented on their own computer monitors in the DocLab’s gallery space. What makes most of these mostly web-based projects different from a “normal” documentary is that the […]
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Making a Film? Read the Credits First
At a recent filmmaking panel hosted by the Massachusetts Production Coalition, filmmaker Chico Colvard offered the following advice to those getting started in moviemaking: read the credits first. The credits of other movies. “I’m fascinated by end credits,” said Colvard. “They’re so revealing. They’re fascinating in that filmmakers use them to continue the story….there’s so much more information there.” The credits can provide you with not just a list of potential cast and crew members. They can also give you the names of accountants and lawyers. More importantly, they can give you the names of possible investors. Other filmmakers might […]
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Five Questions with Only the Young Co-Director Jason Tippet
Capturing the subtle ache of youth on screen has never been an easy task – as evidenced by the long tradition of idiosyncratic, auteur-driven “coming of age” features like American Graffiti, The Last Picture Show, and Dazed and Confused. So it’s quite an impressive feat that those same emotions and aesthetics are so naturally evoked in the real-life stories of three adrift youth in the new documentary Only the Young. Following the quiet travails of evangelical skate punk best friends Garrison, Kevin and Skye, this debut feature from filmmaking team Jason Tippet and Elizabeth Mims is one of the year’s […]
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David Lowery’s First Film, St. Nick, Now Playing for Free at NoBudge
Today is St. Nicholas’ Day, and very fittingly David Lowery’s debut feature, St. Nick, is available to watch for free on the NoBudge website. In advance of the world premiere of Lowery’s second film, Ain’t Them Bodies Saints, at Sundance in January, it’s also a great time to revisit this film — or watch it for the first time. You can watch St. Nick here from today until December 13.
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Profiling the SFFS/KRF Filmmaking Grant Finalists (Part 3)
Following on from the Bay Area Boom article about the San Francisco Film Society’s Filmmaker360 program, we are profiling the 13 finalists for the SFFS’s Kenneth Rainin Foundation Filmmaking grant. The winners of this award will be announced on December 8. SUSAN YOUSSEF AND MAN KIT LAM, MARJOUN AND THE FLYING HEADSCARF Synopsis: With her father imprisoned on dubious terrorism related charges, a Lebanese-American teenager in Arkansas searches for identity in the headscarf and a motorcycle. This feature is an extension of the short by the same name that screened at the Sundance Film Festival. Marjoun and the Flying Headscarf is the first […]
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Murdoch’s Media Monopoly
Are we in the midst of a new round of media consolidation? Is the report that Comcast made a pitch for Disney the first of a wave of further industry restructuring? Rupert Murdoch’s reorganization of the News Corp. and reports that he has been exploring the acquisition of the L.A. Times and the Chicago Tribune raise concern that such a round is underway. On December 3rd, Murdoch announced that he was splitting the News Corp. into two companies. News Corp. will house its publishing business, including HarperCollins, Dow Jones Newswires, the London Times and The Wall Street Journal. The new […]
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The Truth in Ambiguity
Editor’s Note: This essay on ambiguous film endings contains spoilers for the film Oslo, August 31. Joachim Trier’s latest feature, the formally inventive and genuinely moving Oslo, August 31, really had me in its grip by the end. The film, which is about one day in the life of a recovering heroin addict, finishes with the protagonist returning to his childhood home, which is empty. Earlier in the film, we’ve seen him buy a whole bunch of heroin, and a relapse – or worse – may be imminent. In the opening of the film, the addict, Anders, attempts to kill […]
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Director John Henry Summerour on Sahkanaga
The following Q&A is an excerpt from a conversation between filmmaker John Henry Summerour and John DeVore, a writer for The Pulse, Chattanooga’s weekly alternative. (DeVore’s Pulse feature on Summerour can be found here.) Summerour discusses the importance of his personal relationship with the South in making his newest film Sahkanaga (“Great Blue Hills of God” in Cherokee), which is inspired by the Tri-State Crematory scandal. In 2002, it was discovered that over 300 bodies that had been committed to the crematory in Georgia for proper disposal were never cremated and instead buried or left in a shed and the […]
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Five Questions with The Fitzgerald Family Christmas Director Edward Burns
Fifteen years after winning the 1995 Sundance Grand Jury Prize for The Brothers McMullen, Edward Burns proves with The Fitzgerald Family Christmas that you can always return home. In his newest feature film, the Long Island native revisits the joys and trials of an Irish-American working-class family — fertile ground that helped him to stand out as a director and writer of independent film all those years ago. At first, Burns was hesitant to dip again into the well, but The Fitzgerald Family Christmas stands on its own. Two generations of actors with ties to Burns over his 15 years in film reunite […]
