| Filmmaker Magazine

MOTHERS AND KIND WORDS

Thanks to the folks over at Screengrab for the nice words about the new issue of Filmmaker. (And also for catching our over use of the phrase “a perfect storm” twice in one issue — honestly, we didn’t know it was going to be the title of George Tenet’s book.) There’s a bunch of good stuff over at Screengrab, including, for Mother’s Day, their list of the worst movie mothers in film history. Click on the link above to check it out.

by Scott Macaulay on May 13, 2007

RED ON RED

Actress Evan Rachel Wood seems to be the go-to-girl for ambitious music videomakers. First there was her starring role in Green Day’s anti-war “Wake Me Up when September Ends” video: And now she joins reported new b.f. Marilyn Manson in “Heart Shaped Glasses,” an NSFW homage to David Lynch (plenty of red curtains), David Cronenberg and, perhaps, Hermann Nitsch. (Oh yeah, if you’re under 16 you’re not supposed to watch this.)

by Scott Macaulay on May 12, 2007

THE WRITING ON THE WALL

Below I blogged about the L.A. Weekly piece, “Double Cross at the WGA,” which was an explosive account of the Writer’s Guild of America’s policy of collecting and not always paying foreign levies on behalf of member and non-member writers. It’s a complicated story but well worth following for several reasons, not the least of which is what it says about our current and possibly future system of copyright. Now there’s more on the story. Stefan Avalos has written a long and nuanced piece about the scandal at Fade In Online. (The story begins on the website’s front page and […]

by Scott Macaulay on May 12, 2007

TIME REGAINED

If you’re in New York you’ve got a few days left to catch Guy Maddin’s Brand upon the Brain, the director’s spectacular staging of his latest movie with a live chamber orchestra, castrato, three live foley artists and an assortment of guest narrators like Lou Reed, Laurie Anderson and Isabella Rossellini. Like all of Maddin’s work, the film immerses itself in the poetics of early cinema, applying the style this time to a storyline that seems a mix of Dickens and gothic horror. But what makes it a must-see is its rare event quality. When the musicians start, the foley […]

by Scott Macaulay on May 12, 2007

Christoffer Boe, Allegro

ULRICH THOMSEN IN CHRISTOFFER BOE’S ALLEGRO. COURTESY INTERNATIONAL FILM CIRCUIT. Christoffer Boe likes Cannes. After graduating from the Danish Film School in 2001, his student film Anxiety played at the 2002 festival, where it won a prize from French critics, and then Boe returned to the Croisette the following year with his debut feature, Reconstruction. A dazzlingly inventive and playful film, Reconstruction‘s tale of love and parallel universes in Copenhagen beguiled critics and was awarded both the Camera D’Or and the Prix Regards Jeune. Boe was celebrated as international cinema’s most precocious wunderkind, and his film played all around the […]

by Nick Dawson on May 9, 2007

A GENIUS LEDE

Until such time as The Day the Clown Cried sees the light of day, we might just have to settle for… Georgia Rule.. Here’s John Anderson’s genius lede to his Variety review: No offense to either of them, but Georgia Rule suggests an Ingmar Bergman script as directed by Jerry Lewis. The subject matter is grim, the relationships are gnarled, the worldview is bleak, and, at any given moment, you suspect someone’s going to be hit with a pie.

by Scott Macaulay on May 8, 2007

COMEDIC CAMERA

Over at David Bordwell’s Website on Cinema, Bordwell has one of his great screen-grab filled comparative film essays, this time on the relationship between film framing and humor. “Can a shot be amusing in itself?” asks Bordwell before going on to talk about Tati, Barry Sonenfeld, and a sequence from Shaun of the Dead that features the two shots below: Writes Bordwell of the scene in which two groups of survivors meet in zombie-filled London, “The gag’s premise is that each survivor has a counterpart in the other line. There are two posers in brown leather jackets, two can-do girls, […]

by Scott Macaulay on May 6, 2007

THE WGA AND THE MORAL (AND FINANCIAL) RIGHTS OF THE AUTHOR

It’s long, detailed and a must-read — Dennis McDougal’s piece in the L.A. Weekly, “Double Cross at the WGA,” on the guild’s collecting and non-payment of monies issued to member and non-member writers by foreign rights societies. The piece springboards off a class-action lawsuit filed by writer William Richert (Winter Kills) against the WGA as well as whistleblower activity by a now-terminated guild administrator into a discussion of American copyright law, studio business practices and the U.S.’s complicated relationship to the Berne Convention, the international copyright agreement spearheaded by author Victor Hugo. The upshot? If you wrote a screenplay for […]

by Scott Macaulay on May 6, 2007

THE VAST RIGHT-WING BLOGOSPHERE

Via Talking Points Memo comes news of Qube, the right-wing answer to the lefty, politically correct, and conservative censoring website that is… YouTube? From their front page mission statement: Bit by bit the site is coming together. Building QubeTV in the public eye has been a both a joy and a challenge, a real chance to bring the American conservative movement together in one place – with all of you watching! Coming next: a continuation of the ongoing (and not always visible to the eye) tech improvements such as embeds and (duh!) categories, the simple basics we know you are […]

by Scott Macaulay on May 5, 2007

Oren Rudavski, The Treatment

IAN HOLM AND CHRIS EIGEMAN IN OREN RUDAVSKY’S THE TREATMENT. COURTESY NEW YORKER FILMS. After studying at Oberlin College and NYU Film School, director and cinematographer Oren Rudavsky carved out a niche for himself in filmmaking: if you have seen a documentary about Judaism made in the last 20 years, most likely Rudavsky was involved in it. He has made numerous documentaries for television, many of them Jewish-themed, and has recently graduated to making documentary features, with notable success. The highly-praised A Life Apart (1997), an examination of the Hasidic lifestyle in America co-directed by Rudavsky with Menachem Daum (and […]

by Nick Dawson on May 4, 2007

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