6302 Results for “Open ”
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Interview with Private Violence Director Cynthia Hill
Filmmaker: Why this movie? Why did you decide to do it? Hill: This is probably not a film I would have initiated on my own. It’s a subject matter that touches me personally, but one I’ve left behind. But six years ago, Kit Gruelle, an advocate for battered women, asked me to work on a project about the history of the battered women’s movement. It was intended to honor the women – and male allies – who have dedicated their lives to ending violence against women. So I started following Kit to work in shelters, court rooms, training sessions, wherever she would […]
by Danielle Lurie on Jan 19, 2014 -
The Disobedient | Director Mina Djukic
Attention, our audience’s and our own — it’s a valued commodity these days. We struggle to command our audience’s attention, for them to discover our work and then, once they’ve discovered it, to actually focus on it. Meanwhile, we struggle to focus our own attention, to fight our society’s weapons of mass distraction so we can not just see our work to completion but fully discover the meanings within it. What role does attention play in your work? Can you discuss an instance where you thought about some aspect of attention when it came to your film? As a kid, […]
by Filmmaker Staff on Jan 19, 2014 -
The Sleepwalker | Director Mona Fastvold
Attention, our audience’s and our own — it’s a valued commodity these days. We struggle to command our audience’s attention, for them to discover our work and then, once they’ve discovered it, to actually focus on it. Meanwhile, we struggle to focus our own attention, to fight our society’s weapons of mass distraction so we can not just see our work to completion but fully discover the meanings within it. What role does attention play in your work? Can you discuss an instance where you thought about some aspect of attention when it came to your film? My film is […]
by Filmmaker Staff on Jan 19, 2014 -
Interview with 52 Tuesdays Director Sophie Hyde
Filmmaker: Why this movie? Why did you decide to do it? Hyde: Many reasons. We had the opportunity to make something that was a genuine investigation of narrative – how it was made (shooting one day a week every week for one year and scripting as we went) as well as how it is viewed (every Tuesday is seen in the film). These rules or parameters helped us explore how we make films and how we construct our lives, so we were always working toward the finished film but we were also deep inside an experience ourselves. I wanted to […]
by Danielle Lurie on Jan 18, 2014 -
Appropriate Behavior and Obvious Child D.P. Chris Teague
In every young filmmaking scene, there are always one or two up-and-coming DPs you want to shoot your movie. These are the guys, or women, who have shot award-winning student films, who have loyal crews, and who know how to bring extra style, assurance and compositional smarts to first-time features. In the New York independent film community, Chris Teague has been one of those folks, and this year his talents are receiving greater recognition at Sundance, where two of his narrative feature films are debuting. In the Premiere section is the debut of Gillian Robespierre’s Obvious Child, a sly comedy […]
by Scott Macaulay on Jan 18, 2014 -
Giving Good Press: Advice for First-Time Interviewees
For some, it is what they’ve been waiting for, a dream come true, a chance to finally make good on years of lonely work. For others, it is a terrifying minefield of certain humiliation. It is: TALKING ABOUT YOUR FILM. A theoretical dream come true – finally, someone wants to hear me talk about my film! Giving Good Press is a fine art, and, in some cases, a blood sport. The blog machine, the Twittersphere, the critic ratings, the Gray Ladies of print reviews — at a film festival, perhaps for the first time, directors are expected to satisfy their […]
by Alicia Van Couvering on Jan 18, 2014 -
Street Views: a Conversation with James Nares and His Cinematic Ode to New York
The following article originally ran in Spring 2013, when Street was on display at the Metropolitan Museum of Art in New York City. It is republished here to coincide with it playing as part of New Frontier at the 2014 Sundance Film Festival. In James Nares’s 1976 film Pendulum, a large metal sphere swings ominously from a bridge in a desolate TriBeCa street. We watch with unease as the ball, viewed from multiple positions, traces a giant arc, pulling on the cable, which emits a low rhythmic groan on the soundtrack. This tense, hypnotic Super-8 film, which transforms a forlorn […]
by Paul Dallas on Jan 18, 2014 -
Five Questions with Ping Pong Summer Director Michael Tully
As much a tribute to the films of the 80s as it is a tribute to the 80s themselves, Michael Tully’s Ping Pong Summer is a strangely sweet, knowingly retro coming-of-age story. Set against the unique and colorful backdrop of 1980s Ocean City, Maryland, the film follows the aptly named Radical Miracle (newcomer Marcello Conte) across a summer of old-school arcade games, teen romance, breakdancing, and of course, plenty of ping pong. Weaving the idiosyncratic style of his previous feature Septien (which premiered at Sundance back in 2011) into a warmer, more universal (yet no less distinctive) tapestry, Tully has […]
by Jane Schoenbrun on Jan 18, 2014 -
Five Questions with God Help the Girl Director Stuart Murdoch
Stuart Murdoch has been a major creative force in the independent music sphere for over two decades now as the lead singer of seminal indie-pop outfit Belle and Sebastian. Over eight albums and roughly a dozen EPs, Murdoch has expertly reinvented himself and his band many times – from the twee folk of If You’re Feeling Sinister to the 80s-inspired pop of Dear Catastrophe Waitress to the Bowie-esque swagger of The Life Pursuit. Never one to rest on his laurels, though, Murdoch is now turning his attention to an entirely different medium with God Help the Girl, his feature directorial […]
by Jane Schoenbrun on Jan 18, 2014 -
Park City Critic’s Notes #1: Jungle Violence and Prairie Reckonings
Generally speaking, the documentary competitions sections of major market film festivals are not places to go and find uplift. Wanna feel good in, say, the James Brown sense of the phrase? The Premieres or Spotlight sections at a festival such as Sundance are usually better bets, programs that tend to provide, with some notable exceptions, a bevy of of biopics, inspiring tales and quirky comedies packaged to appeal to vain movie stars and whatever audience still remains for mid-to-lowbrow, adult-centered specialty films. Any world where the people are all as attractive as, say, Keira Knightley, Chloë Grace Moretz and Mark […]
by Brandon Harris on Jan 17, 2014
