| Filmmaker Magazine

NO BOO-YAH FOR THE INDIES

Here’s Jim Cramer on the video podcasting revolution: “Bloggers may be stealing readers away from newspapers, but when it comes to audio and video feeds, people will go for high production values. Which would you rather spend time uploading to your iPod: An episode of Lost or a grainy feed of someone prattling about their favorite celeb? So, for a few more years, the media we download will be the same stuff you see or hear on old media. The masses will have to wait for cheap, yet sophisticated production technology in order to win a wider audience. Until then, […]

by Scott Macaulay on Jan 6, 2006

ISRAEL GOES TO PARAMOUNT

As Indiewire and Anne Thompson have reported, veteran exec Amy Israel, who worked acquisitions for Miramax and then production for the L.A. post house The Orphanage, has been named Executive Vice President of Production and Acquisitions at Paramount Classics by its new head, John Lesher. In a statement, Lesher said, “”Amy’s extensive background and stellar reputation makes her an ideal choice to help us create a wholly new, dynamic production and acquisition-driven film business. Her expertise as a producer, and her involvement in some of the most successful independent films of the last decade speak volumes about her leadership and […]

by Scott Macaulay on Jan 5, 2006

THE NEW WORLD’S THREE-PART HARMONY

A poster who calls himself Fuckles over at Ain’t It Cool sends world from a The New World Q&A screening with producer Sarah Green that there will be three cuts of Terrence Malick’s new film. The cut that’s in the theaters now, a likely “trimmed” version that will consist of the same scenes but shorter, and then an extended cut that’s longer than the 155-minute current cut. Green apparently said the current cut will “always exist,” but the poster hypothesizes that it’s soon to fall by the wayside, stranded between the more audience-friendly cut and Malick’s full-blown epic version.

by Scott Macaulay on Jan 4, 2006

FAMILY PROGRAMMING

Dennis Cooper writes about artist Ryan Trecartin in the pages of Artforum this month, situating the 24-year-old’s work somewhere alongside that of “Kenneth Anger, Jack Smith, and early John Waters.” From the piece: “…everything aesthetic about his videos — from the baroque screenplays that polish flippant teen slang into cascading soliloquies to the dueling fascinations with profound loneliness and extremely affected behavior to the swarming, jumbled, yet precisely composed shots that pack each frame to the rafters with visual stimuli — displays a near obliviousness to what’s going on in his field, whether it be the cliches of current video […]

by Scott Macaulay on Jan 3, 2006

CATS AND DOGS WITH LEOS CARAX

In the last Filmmaker I wrote about New Order’s recent video compilation and the various “artist-directed” videos that producer and filmmaker Michael Shamberg commissioned for the band over the years. In the piece, Shamberg announced that a website would be up detailing the project, but, due to health issues — Shamberg took ill in London this summer and was hospitalized for three months — the site was delayed. Now, Shamberg has emailed to say that he’s better and that Kinoteca is online. Over the next few months he will be gradually putting up info on all the New Order video […]

by Scott Macaulay on Dec 29, 2005

STRAIGHT TALK FROM SUB POP

Filmmakers looking to score quick tunes from up-and-coming bands for their indie flick often don’t understand the realities of licensing pre-recorded music and wonder why their producers can’t clear a song on the fly. Here, then, is some straight talk from Sub Pop Records, the label that spawned Nirvana and which has a handy $500 festival rights quote but also plenty of provisos that filmmakers need to follow: “A sync license for a Sub Pop artist will run you $500, half of which goes to Publishing, the other half of which goes to Sub Pop. If you do not want […]

by Scott Macaulay on Dec 29, 2005

MOVIE POSTER WORD BALLOONS, PART TWO

Below I posted about the empty word balloons I spotted affixed to various movie posters in the subway and said they were obviously the work of some renegade artist. Apparently, Gothamist posted about this back in September. They’re the work of artist Ji Lee, whose The Bubble Project is intended as a “counterattack” on corporate advertising’s invasion of the public space. Click on the link to see samples of of the “bubbles” filled in by random citizens.

by Scott Macaulay on Dec 28, 2005

THE LISTS KEEP COMING

I haven’t been too focused on all of the end-of-year “ten best” hoopla, but there are some lists up today worth checking out. Indiewire has their “insider” ten best, with lists from people like Bingham Ray, Christine Vachon and Ryan Werner. And then there’s our former Filmmaker West Coast Editor Chuck Stephens, whose list is provocatively subtitled “The top 10 fresh wounds to the body politic of global filmmaking.” I only know about half the films on Stephens’ list, so there are a lot of discoveries here. And, as usual, his write-ups are a treat. Here’s what he has to […]

by Scott Macaulay on Dec 28, 2005

JULY ENDS IN DECEMBER

Miranda July says adios with a final post on her Me and You and Everyone We Know blog, offering to us as her going-away present an artful Google image tree that unspools her life for the past year.

by Scott Macaulay on Dec 28, 2005

SUGAR HIGH

If you’re strolling through New York’s Chelsea neighborhood this weekend, you can stop for a bit and check out one of the more interesting films from last year’s Sundance Film Festival — in a gallery, not a theater. Running through January 7 at Roebling Hall in Chelsea is Sugar, a film installation by Reynold Reynolds and Patrick Jolley with Samara Golden. When the feature version of this work played in Sundance’s Frontier section, I remember appreciating its visual-art feel, and now, for their gallery show, the artists have expanded on Sugar by creating “two life-size hyper-real sculptures” to accompany the […]

by Scott Macaulay on Dec 28, 2005

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