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Credits Where Credits Are Due
Tyler Perry believes that generative AI could soon drastically reduce location filmmaking. He recently announced plans to pause an $800 million expansion of his Atlanta-based studio complex, telling The Hollywood Reporter, “I no longer would have to travel to locations. If I wanted to be in the snow in Colorado, it’s text…. If I wanted to have two people in the living room in the mountains, I don’t have to build a set in the mountains.” But state legislatures and film offices haven’t gotten that memo. As we take our annual look at film tax incentives around the country, the […]
by Scott Macaulay on Mar 18, 2024 -
Forgive My Laughter: Vera Drew on The People’s Joker
The following interview with The People’s Joker writer, director and star, Vera Drew, appears in Filmmaker issue #126 and now appears online as the film receives its U.S. theatrical release from Altered Innocence. Just as The People’s Joker was preparing to premiere at the 2022 Toronto International Film Festival, a “strongly worded letter” arrived that threatened immediate legal action if Vera Drew’s scrappy, bold feature debut went ahead with its multiple planned screenings. Warner Bros. was less than pleased that Drew and co-writer Bri LeRose based their film on a trademarked DC franchise, and it likely didn’t help that the […]
by Natalia Keogan on Mar 18, 2024 -
Solutions Based: Who Should Save Independent Film?
The Sundance Film Festival is a time for movie watching, deal making, talent scouting and, often, much soul searching about the state and future of the independent film industry. This year in particular there was no shortage of media coverage and conversations about distribution and the sustainability of the independent business. As Sundance CEO Joana Vicente told The Ringer’s “The Town” podcast, “Everyone is thinking about solutions… How can we help and figure out how all these films find a home, and what’s our role in the distribution exhibition piece?” For Sundance’s more commercial films—of which there were several this […]
by Anthony Kaufman on Mar 18, 2024 -
“I Hope It’ll Be Comforting to Trans People, Because the Butterfly Narrative Leaves Out the Reality of the Experience”: I Saw the TV Glow Director Jane Schoenbrun Interviewed by Gregg Araki
“I often don’t remember my dreams, and so when I do, I’ve learned to listen to what my subconscious could be trying to tell me,” director Jane Schoenbrun told Filmmaker in the leadup to the 2024 Sundance Film Festival, where their sophomore dramatic feature, I Saw the TV Glow, premiered to acclaim. That admission could be seen as something of a mission statement for Schoenbrun, one that might also have been made about their 2021 microbudget debut, We’re All Going to the World’s Fair. In World’s Fair, a sinister online role-playing game haunts the internet, becoming a sort of roiling […]
by Filmmaker Staff on Mar 18, 2024 -
Las Cruces Days: Making Sundance Grand Prize-Winner In the Summers Using New Mexico Tax Credits
Alessandra Lacorazza’s In the Summers is a film of moments spread across years—moments quiet and seemingly insignificant, as well as larger events whose significance is downplayed at the time only to be properly understood years later. It’s the story of two teenage girls who, each summer, are sent by their mom to spend a few weeks with their charismatic yet irresponsible father, whose ability to love and be a parent is continually undermined by his addictions to drugs and alcohol. Winner of the Grand Jury U.S. Dramatic Competition prize at this year’s Sundance Film Festival, In the Summers finds a […]
by Scott Macaulay on Mar 18, 2024 -
Transfigured Night: Bertrand Bonello on The Beast
The anxious energy running through the films of Bertrand Bonello is fueled by seemingly contrary cross currents: a mix of naturalism and dream logic, coolness and hysteria, the emotional equivalents of ice and fire. While hopping across distinct genres—his filmography includes a portrait of a bordello in fin-de-siècle Paris (House of Tolerance), a 1960s/’70s fashion biopic (Saint Laurent), a contemporary zombie movie (Zombi Child) and a take on millennial hipster terrorists (Nocturama)—Bonello stays close to characters who get lost in psychic underworlds, highlighting the mind’s slippery dark side and the human tendency (abetted by genre conventions) to fall into one […]
by Michael Almereyda on Mar 18, 2024 -
Martini Shots
Lithuania-born filmmaker Robertas Nevecka was making short animated pictures and working as an assistant director when, on a location shoot, he began to draw. It was 2019 and “It was really hard,” Nevecka remembers. “We were shooting in a small village, living in trucks, and, during the off time, I started drawing stuff about the things that happened during the day. That was the start.” Five years later, Nevecka’s film-shoot pastime has grown into a much larger endeavor, a small business that finds his witty visual accounts of set life on t-shirts, playing cards and, most recently, collected in a […]
by Scott Macaulay on Mar 18, 2024 -
Authentic Spaces
On the first shoot day of the TV series Reservation Dogs, the call sheet had a banner announcement for a “Blessing Ceremony at Call.” At 8:00 a.m., the parking lot of our Tulsa location, a strip mall clinic we had turned into an Indian Health Services Center, was filled with the usual trappings of a film set: trailers, catering tents, frayed nerves. But the entire cast and crew (both on- and off-set personnel) was also gathered, arranged in a loose circle around a smaller band of Indigenous community leaders, elders and Sterlin Harjo, the creator and show runner. Wotko Long, […]
by Brandon Tonner-Connolly and Tafv Sampson on Mar 18, 2024 -
Work Life Balance: The Feeling That the Time For Doing Something Has Passed Director Joanna Arnow Interviewed by Isabel Sandoval
“The film isn’t about you,” Joanna Arnow tells her parents at the beginning of 2013’s i hate myself :). “You’re secondary characters.” Her mother Barbara responds, “We know who the primary character is,” with a smile that’s half-loving, half-exasperated. Across a body of work that’s grown to include the Berlinale-awarded 2015 short Bad at Dancing, 2019’s follow-up Laying Out and now her first narrative feature, The Feeling That the Time For Doing Something Has Passed, Arnow has placed herself front and center in a variety of increasingly stylized modes. i hate myself :) was a documentary portrait of Arnow’s then-relationship […]
by Filmmaker Staff on Mar 18, 2024 -
Notes from Inside the Ecosystem: Joanne McNeil on Apple Vision Pro
From the late aughts until pre-pandemic times, Apple’s presence in my life seemed concise and easy to recognize. It manufactured the phone in my pocket and the laptop I worked on. I picked an iPhone and a MacBook over the alternatives for the usual reasons: because Apple products were reliable and well-designed with intuitive user interfaces. The company, as a product manufacturer, appeared to have a vastly different purpose than the neighboring Silicon Valley empires extracting and monetizing data like Google and Facebook. Something changed in recent years. Now, when I think of Apple, I think of the AirTags I […]
by Joanne McNeil on Mar 18, 2024
