| Filmmaker Magazine

“SECRECY” co-directors, Peter Galison and Robb Moss

Visualizing secrecy might seem about as promising as singing in outer space. Film what? From the start, we’ve constantly been on the lookout for 10 percent more things to make visual. How to imagine information that has been withdrawn, conversations stifled, photographs blocked, or words censored? In fact, the very absence of obvious things to film about secrecy became, over the course of making this film, our single greatest preoccupation. Some things ended up working pretty well — we found ways of animating the redaction — and de-redaction, the all-too familiar blacked-out texts. In fact, prodded by all the things […]

by Jason Guerrasio on Jan 15, 2008

“THE GREATEST SILENCE: RAPE OF THE CONGO” writer-director, Lisa F. Jackson

I would have liked 10 percent more roads. Without good access there are no good documentaries and there will always be those stories that are lost because it was almost impossible to get to where they lived. [PREMIERE SCREENING: Monday, Jan. 21, 9:15 pm — Holiday Village Cinema III, Park City]

by Jason Guerrasio on Jan 15, 2008

“SMART PEOPLE” director, Noam Murro

I wish I had more time, more energy, a lot more guts, a few less words, a lifetime more wisdom, clearer hindsight sooner, 10 percent more of Fassbinders’s DNA, 10 percent more of P.T. Anderson’s DNA, and 80 percent less craft service. [PREMIERE SCREENING: Sunday, Jan. 20, 6:15 pm — Eccles Theatre, Park City]

by Jason Guerrasio on Jan 15, 2008

MANN ON WIRE

Seith Mann’s short film five deep breaths is one of the best we’ve seen in recent years, and it got the New York filmmaker selected to our 25 New Faces list — in 2003. And now that Mann has made a name for himself directing episodes of HBO’s hit The Wire, his short has surfaced again, this time via Bilge Ebiri at New York Magazine. Click here to both read about and see the film. Here’s Ebiri on Mann and his work: The tale of two friends who get in too deep when they decide to help out a battered […]

by Scott Macaulay on Jan 14, 2008

WINTER ISSUE AND SUNDANCE AROUND THE CORNER

For those who just read the blog, check out the main page all this week as we’ll be highlighting the responses we got from many of the filmmakers with features at this year’s Sundance Film Festival as they answer the question: if you had 10 percent more of anything, what would it be and why? The responses are also in our Winter issue, which will premiere at Sundance (hits newsstands a week later) and also includes interviews with Paul Thomas Anderson on There Will Be Blood, Alex Gibney talks about his latest doc Taxi To The Dark Side and author […]

by Jason Guerrasio on Jan 14, 2008

“SAVAGE GRACE” director, Tom Kalin

You can’t always get what you want, especially shooting a movie. I’d have loved 10 percent more of every resource — what director would say no to that? But since we shot entirely on location in and around Barcelona, I discovered unknown 10 percents along the way. I learned the standard shooting day in Spain is 10 percent shorter than what I knew and that six-day weeks are rare. (I also learned some new things about moving fast while looking good from my superb Spanish crew.) I wish I had at least 10 percent more facility with language since nearly […]

by Jason Guerrasio on Jan 14, 2008

“THE WACKNESS” writer-director, Jonathan Levine

What did I wish I had 10 percent more of when making The Wackness? Easy, sleep. As I approached the first day of production on The Wackness, I couldn’t help but feel the overwhelming sense of: “Don’t mess this up.” I had worked so hard on the script and I was really happy with it. My heart and soul were all over every page. So in my dogged determination not to mess up the movie, I decided I could live on two hours of sleep a night. I stayed in the office storyboarding and tweaking dialogue until the sun came […]

by Jason Guerrasio on Jan 14, 2008

“A GOOD DAY TO BE BLACK & SEXY” writer-director, Dennis Dortch

Ten percent more conformity. One day back in college, my screenwriter teacher held a meeting with me about my first script. He looked me in the eye and stated that my writing is so good, if I would just follow conventional screenwriting methods on this script, I would be well on my way to a successful career in Hollywood. Well… I didn’t listen. I was young, bullheaded, and determined not to follow the Man. I continued to write raw and loose, exactly as it came out like conceptual art. That particular script had a 35-page scene in the middle of […]

by Jason Guerrasio on Jan 14, 2008

“ANVIL! THE TRUE STORY OF ANVIL” director, Sacha Gervasi

I wish I’d had 10 percent more of an idea of what the fuck I was doing. Though I had a very strong sense of what I wanted the story to be, we kept shooting and shooting because everything seemed interesting. In the end we had more than 300 hours of footage, and turning that into an 80-minute movie with a strong narrative just became this living hell. The story would keep unfolding as time went on and things would happen and at a certain point I just lost the plot and wanted to kill myself. I just wish I […]

by Jason Guerrasio on Jan 14, 2008

“THE LINGUISTS” directors, Seth Kramer, Daniel A. Miller, Jeremy Newberger

If the three directors at Ironbound Films had stumbled upon a genie’s lamp or magic wand or some other wish-giving mechanism during the filming of The Linguists, and somehow that mechanism would only grant 10 percent more of something we currently possessed, then that something would unanimously and unequivocally be 10 percent more toilet paper. When we set out with the stars of our film — linguists David Harrison and Gregory Anderson — to India to document the endangered language Sora, we spent our first week in Bhubaneswar, a fairly developed city on the east coast of India. We stayed […]

by Jason Guerrasio on Jan 14, 2008

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