Without an environment to shoot, cinematographers have nothing; without directors of photography to shoot their sets, production designers have no purpose. It takes a lot of people to build a world for the camera to film, and while the director may inspire and supervise its creation, it takes a production designer and a cinematographer to get it in front of the lens. The creative and practical collaboration between these two key crew members often gets personal. It is always co-dependent. We spoke to three such teams about their most recent projects together – Inbal Weinberg and Andrij Parekh of Blue […]
Perhaps you’ve gotten into the habit of phoning your elected representatives about issues like, I don’t know, health care… Well, if you are a working film producer you might add one more call to your phone sheet. Section 181, which allows investors to write off the cost of film production in the first year of expenditure, has been a real incentive to the independent film business over the last few years. It is due to expire December 31, but there is a possibility it will be extended. The extension vote has passed the House and is now waiting Senate passage […]
More in today’s New York Times that’s worth noting: Alice Pfeiffer’s piece on how the art world is dealing with digital art creation and sales. Again, much of the most interesting thought about these issues is happening outside of the film world. An excerpt: The speed of change in electronic technology, the disconnect between data storage and display and the virtual nature of digital imagery raise difficult questions: how to tell genuine from fake or copy; how to create and protect uniqueness; and how to protect a work against technological obsolescence. Video art, for example, is typically sold as a […]
Robin Wilby’s Loop Planes , produced by Christine Vachon, is the first project to emerge from the partnership between Massify and Killer Films, and it has just wrapped production. Brooke Sebold is documenting the process over at Massify, and the first video is now up. It is embedded below, and make sure to visit the page and the site for more on the project and Massify in general. Massify + Killer Films Episode 1 from Massify on Vimeo.
Submitted with the caveat that he’s not an expert on tax law, producer Noah Harlan sent the below comment about possible effects of the Obama election on film production incentives. From Harlan: It might be worth noting one of the interesting implications of the election for the film business. The bailout package passed last month included an extension of the section 181 provisions of the federal tax code that allowed investors in qualifying US films to take their investment as an expense against income. For most investors (except those that were full-time film investors) it is specifically against passive income […]
In Variety, Ali jafaar reports on a new production company poised to pump a billion dollars into film production. From the piece: Abu Dhabi has set its sights on joining the big leagues of pic production. The Abu Dhabi Media Co., which oversees the emirate’s film, TV and radio outlets, is launching a production shingle with $1 billion to spend on developing, financing and producing feature films over the next five years. Company dubbed Imagenation Abu Dhabi, which will also oversee Abu Dhabi’s existing $1 billion production fund with Warner Bros., has a mandate to produce eight features a year […]
Harmony Korine’s AggroDr1ft unfurls through sheets of kaleidoscopic color — neon shades of gold, aqua and red — that ripple and pulse, achieving almost an intelligence of their own as they add expressionistic textures to the film’s Miami-set tale of a melancholy hitman out for a demonic Final Boss. And while the narrative recalls, at times, Robert E. Howard, Michael Mann and Grand Theft Auto, the film’s genuinely unique method of production allows its hallucinatory vibe — aided by an insidious AraabMuzik score — to reign supreme. Working with his team at new production outfit EDGLRD, including creative director Joao […]
“Last year, as you know, we had a few polemics,” admitted Cannes General Delegate Thierry Fremaux at the opening of the 77th edition on Tuesday. “This year we decided to host a festival without polemics to make sure that the main interest for us all to be here is cinema.” With ignorance this willful, you have to laugh. Cannes has gotten so used to sweeping its problems under the rug that no one seems to know when, how, or if the Sous les Écrans la Dèche strike–-which would affect some 200 projectionists, programmers, floor managers, and press officers working the […]
In The Damned, Roberto Minervini embeds us with Union Army soldiers ranging across the Western front in 1862, far from the battlegrounds in the East but no less at risk. But when you direct a Civil War movie in 2020s America, it can be hard for audiences to view it as solely a fictional matter, especially when you’ve previously directed two of the most revealing documentary cross-sections of the United States in the last decade, The Other Side (2015) and What You Gonna Do When the World’s on Fire (2018). It’s possible to watch The Damned as a rugged journey […]
At dinner my first night at this year’s Cannes, a friend asked our waiter if this was his restaurant’s busiest time of year. Not even close; that would be MIPIM, “the world’s leading real estate market event,” taking place in March and drawing 26,000+ people—a number handily dwarfing the 13,000+ market attendees, plus assorted press and filmmakers, at last year’s festival. It was a useful perspective check: if Cannes is roundly conceded the status of world’s biggest film festival when all components are accounted for, that doesn’t mean too much in the global scheme of things, where cinema, as we […]