Production
Filmmaking - Production
-
Susan Youssef, Habibi
Nearly 10 years in the making, Habibi is the semi-autobiographical first feature from 2010 “25 New Face” Susan Youssef, a tale of forbidden love between two Palestinian students who find it impossible for their affection to overcome the rigid conventions of class in Palestinian life and Israel’s ironclad security regime. With Israelis and Palestinians again in actively violent conflict, the film couldn’t be more newsworthy, but Youssef’s low-budget aesthetic ingenuity (she couldn’t shoot in Gaza, but faked it admirably) and a remarkable performance from Maisa Abd Elhadi, as the young woman at the center of multiple circles of conflict (family […]
-
Game Changers Part 3: Camera and Lighting
In this third part of the series about the production of the low-budget indie movie Game Changers, filmmakers Rob Imbs (director) and Benjamin Eckstein (cinematographer) discuss shooting with the Sony PMW-F3, shooting in S-Log, lighting issues, and the lenses used to shoot the movie. Filmmaker: Ben, you already owned the Sony PMW-F3, was the decision simply to use the camera you had? Eckstein: I’ve been fortunate that I own almost all the gear that I use on a day-to-day basis. From the beginning when talking to Rob, it was not really a discussion of “Are you trying to get the […]
-
Director Matthew Lillard on Fat Kid Rules the World
Matthew Lillard has been in the movie business for a long time, racking up a sizable resume as an actor in films from SLC Punk and Scream to The Descendants and Trouble with the Curve, but with this , year’s Fat Kid Rules the World, Lillard makes his directorial debut. Fat Kid Rules the World tells the story of Troy Billings, a lonely, overweight teen, and Marcus, the magnetic-yet-troubled local musician/high school dropout as they fight to save each other from their inner demons (depression/attempted suicide and drug addiciton respectively). After a serendipitous offer out of the blue and feeling […]
-
Five Questions with The Flat Director Arnon Goldfinger
When the maternal grandmother of Arnon Goldfinger dies, the documentary filmmaker is confronted with the lifetime of furniture, gloves and books she left behind in the Tel Aviv apartment she shared with his grandfather. After he begins to document the long process of cleaning out and distributing the items among family members, an unexpected possession rises to the top: a newspaper article which hints at family ties to the Nazis. The Flat (which opens on Friday through Sundance Selects) follows Goldfinger’s initial question of how the article came to be in the apartment, and how it connects to his grandparents […]
-
Dreams from a Petrified Head Director Dan Ouellette
Dan Ouellette has had a long career in the New York independent film community, starting with his work as a production designer for Hal Hartley in 1990 with Trust and then, in 1992, with Simple Men. He’s also an accomplished visual artist (examples of which can be seen at his Neurotica Divine site) and has directed stylish music videos for the bands Android Lust and The Birthday Massacre. Dan is also, full disclosure, an old friend who I’ve also worked with professionally many times. (Films he’s production designed that Robin O’Hara and I produced include What Happened Was…, Saving Face, […]
-
Deadline Approaching for Biennale College – Cinema Microbudget Production Program
The deadline of October 22 is fast approaching for the Biennale College – Cinema, a new initiative open to first and second-time directors that will lead to the production of three micro-budget films. In a program led by the Venice Biennale in partnership with Gucci, 15 producer-director teams will take part in a ten-day filmmaking workshop, after which three projects will be selected for further development and production funding in the amount of €150,000. Projects must be able to developed, produced and edited within five months, and they will then premiere at the 2013 Venice Biennale. The Call for Application […]
-
Hellion Grows Into a Feature
It was the spring of 2011 and I’d just wrapped an eight-year run as the Film Program Director at the Austin Film Festival. I was looking to produce more when a long time friend, writer/director Kat Candler, came to me with a short script called Hellion. Flash forward to January of 2012 and we’re bringing our six-minute short film Hellion to the Sundance Film Festival. It was truly one of the greatest experiences we’ve had surrounded by an audience that embraced the film. It was a strange experience for me being on what I called “the other side of the badge,” as a […]
-
The Power of the Humble Bar Napkin
I had a lunch meeting with two of my partners on an international co-production. We are planning a South Africa / Canada treaty co-production on a $15m film and planned to meet up at Strategic Partners. Today, we worked on our laptops, smartphones and iPads as we ate sushi on the beautiful Halifax waterfront. After an hour, we hit an obstacle in our work and were uncertain how to proceed. Then later, my Canadian partner started talking to a UK producer who is a good friend I made at TAP, and she had different thoughts. A German producer weighed in […]
-
12 Tips from James Schamus and Christine Vachon at IFP Film Week
The IFP’s Independent Film Week’s Filmmaker Conference kicked off today, beginning with a case study of Beasts of the Southern Wild and ending with a conversation, moderated by IFP Executive Director Joana Vicente, between producer and Killer Films head Christine Vachon and producer, screenwriter and Focus Features CEO James Schamus. Below are 12 tips from the latter event — advice aimed at producers and, in some cases, anybody else, from two veterans with deep, decades-long roots in the independent community. 1. Consider producing. Christine Vachon and James Schamus are producers, but they both remembered a time when they were not. […]
-
What’s Special About This?
I had a series of epiphanies in the morning TAP session today. The most profound thought I had was a question, and I think it’s a question that must have an answer if you are pitching a film. I think this may be the toughest question in the world, because if the answer is not obvious you’ve got nothing. It’s such a great lesson, and after today it’s a new rule for projects we’ll take on in our company. What’s special about this? Today I also got another bit of what I came here for. There are very few places […]
