Filmmaking
Filmmaking
-
Shake-ups in Online Video
Online video’s come a long way in the seven-and-a-half years since the launch of YouTube, but it’s no secret that the landscape’s still constantly changing for filmmakers, both independents and studios. The big question, still, is how to best monetize online viewing, as a few recent developments have illustrated. Karin Chien has a great piece in the current issue of Filmmaker (available for subscribers here) about how some YouTube stars have built up massive audiences that have, in turn, supported them financially and empowered them to deal with Hollywood on favorable terms. But we all know that going viral can […]
-
Hearing Central Pitches at the IDFA Forum
So, I am in Amsterdam, attending my first IDFA, a fest I’ve been dreaming of attending since I first started working in documentary. IFP has 11 films in the fest, and four works in progress in the Forum, so I’m here for moral support, promotion of IFP, and reconnaissance. What is happening in documentary in the rest of the world? In advance of my arrival, I was most anticipating being a part of the Forum, “IDFA’s international co-financing and production market, Europe’s most important breeding ground for new documentary work.” The Forum presents works in progress to the international funding […]
-
Cahiers du Cinema names Holy Motors the Best Film of 2012
I couldn’t agree with more the top spot on Cahiers du Cinema’s naming of Leos Carax’s melancholy ode to cinematic decline and reinvention, Holy Motors as the best film of the year. At this point it’s #1 on my list too. But the other selections on their top ten…? Let’s just say it’s an eccentric list. David Cronenberg’s experiment in DeLillo adaptation, Cosmopolis, is in the second spot. Interestingly, the two films were compared to each other during Cannes as both are episodic works dealing with protagonists driven around in limousines. Number three is Francis Ford Coppola’s under-seen (including by […]
-
Profiling the SFFS/KRF Filmmaking Grant Finalists (Part 1)
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. RYAN COOGLER, FRUITVALE Synopsis: Based on a true story, Fruitvale follows Oscar Grant, a 22-year-old Bay Area resident, who crosses paths with friends, enemies, family, and strangers on New Year’s Eve 2008. Bio: Ryan Coogler is a 26-year-old filmmaker based in the Bay Area. He earned his MFA at the University of Southern California School of Cinematic Arts in 2011, where he made several short […]
-
Rick Linklater Talks the Gotham-nominated Bernie
Bernie Tiede was the popular person in Carthage. We know this because the small East Texas town residents tell us themselves. They sit on lawns and in office chairs and talk to the camera in Richard Linklater’s new film Bernie, nominated for Gotham Awards for Best Feature and Best Ensemble Performance. This ensemble collectively tells of how Bernie (played in flashback by Jack Black) first came to town in 1985 as an assistant funeral director. Soon, they say, he led Carthaginians through the local church choir, town theater productions, and Little League, even helping people with their tax returns. He […]
-
The Blue Velvet Project Goes to Mar Del Plata
Some of the best writing we’ve ever published has been Nicholas Rombes’ Blue Velvet Project, a year-long survey of David Lynch’s classic, done solely through the examination of single frames spaced at 47 second intervals. The series wrapped up a couple of months ago, and I’ve been missing it. The Project carries on, however, landing this week at the 27th Mar Del Plata Festival in Argentina. Each year, the festival publishes one book about cinema, and this year’s is, you guessed it, El Proyecto Terciopelo Azul. In the photo above, Rombes signs copies for festival attendees. I’m excited for him […]
-
Larry Clark’s Marfa Girl Gets Exclusive Streaming Release
“This is the future and the future is now,” declares director Larry Clark on the website for his new film, the Rome Grand Prize-winning Marfa Girl. And when Clark says “now,” he means now — the film will stream today, at 6:00 PM Eastern time, for 24 hours, and that may be the only time you’ll ever get a chance to see it. From the site: I will put the film on my first and only website, larryclark.com, which is the only place one will ever be able to see the film…. It will stream for $5.99 for access to […]
-
A (Screening) Room of One’s Own: U.S. in Progress, Part Two
The central metaphor of Virginia Woolf’s A Room of One’s Own, as I remember it, is the university; she talks about the vast number of people who participate in its creation – from those who fund & design it to those who actually build it – the result of which is a single (male) student being able to sit and write. Woolf’s point is to illuminate the gendered nature of the systems and structures on which scholarship is built, but the scale of resources that go into the screening of any one film – especially one overseas, in the context […]
-
Buy a Relationship with James Franco for $6,000
A couple of weeks ago we selected Stephen Elliott’s Happy Baby for our curated Kickstarter page, and since then he’s been adding a number of provocative awards to the campaign. The most interesting was added today: for $6,000, Elliott will transfer to you his relationship with the actor and director James Franco, who starred in his feature About Cherry and owns the rights to his novel The Adderall Diaries. Muses Elliott, “What does that mean?” “I’m not really sure,” he continues. “I can’t promise anything from James, but I’ll send you a notarized document transferring full ownership.” Memorializing and transferring […]
-
FCP X and the Future of Editing
Editing is older than motion pictures. The ordering and pacing of dialogues, scenes, entrances and exits to build conflict and resolution have long defined Western theater, from Aeschylus’s Oresteia to Wagner’s The Ring of the Nibelung [Der Ring Des Nibelungen]. It was the insertion of first-person thoughts into dialogue and plot that modernized 18th- and 19th-century novels and clever sequencing of mechanically animated magic lantern glass slides that thrilled Victorian audiences to popular epics like Ben-Hur.
