6300 Results for “Open ”
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Grouping Films at The New York Film Festival
Grouping is an excellent organizing tool during a film festival — mapping the films and intimating their relationships. The only problem is that, for the reader, you run the risk of relinquishing the element of surprise. Take, for example, Our Children (pictured above), a New York Film Festival main slater by Belgian director Joahim Lafosse. (The original French title is A Perdre la Raison.) It was not invited to Toronto, which has at least ten times the number of films as the New York Film Festival. What differentiates Our Children from the other selections? The most obvious is fragmentation. Short […]
by Howard Feinstein on Oct 3, 2012 -
Bringing Dead Zoo to Life
A few years ago, I made a feature documentary about rock posters, Died Young Stayed Pretty, which premiered at SXSW Film Festival. Cartoonist Ward Sutton did a great 12-panel comic strip review of the film in the Village Voice, and Filmmaker Magazine did an awesome interview. My new film, Dead Zoo, is finally off the ground, after six years of sweaty script development and countless hours with amazing collaborators like Oscar-nominated character developer Julianna Kolakis (District 9), 2D animator Philip Piaget and musician Com Truise. Dead Zoo is inspired by recent conversations revolving around the merging of the body with machines — a prosthetic love story about what it means to be human, and what […]
by Eileen Yaghoobian on Oct 2, 2012 -
Is Creative Work Only for the Privileged?
J. Maureen Henderson at Forbes asks a question for these times: “Are Creative Careers Now Exclusively Reserved for the Privileged?” She primarily refers to writing and publishing jobs, but her question applies to the film world too. Henderson’s piece quotes from another by writer Alexandra Kimball, who writes at Hazlitt about breaking into publishing… when you can’t afford to be an intern. From Kimball: To be a writer in this market requires not only money, but a concept of “work” that is most easily gained from privilege. It requires a sense of entitlement, the ability to network and self-promote without […]
by Scott Macaulay on Oct 2, 2012 -
Narrowing the Gap at Fantastic Fest 2012
As a filmmaker, I find myself more and more impressed with the indie game-making community. They’re supportive of their own at a level I wish we filmmakers were and they’re constantly innovating new ways of distribution. Because of this, it’s become a little quest of mine to learn more about indie game-making and how it overlaps with indie filmmaking. How are they similar, how are they different, and what can each hopefully learn from the other? One place where the filmmaking and game-making ley lines intersect is Fantastic Fest. It’s one of the biggest genre film festivals in the US and […]
by Michael Medaglia on Oct 2, 2012 -
Director Ted Kotcheff on Wake in Fright
Ted Kotcheff’s Wake in Fright was a hit at the Cannes Film Festival in 1971, but as the film made its way across the Atlantic, its stateside distributor decided to do a bit of rebranding. Against Kotcheff’s will, his intense fish-out-of-water tale was released in New York the following winter as Outback, a perfectly bland title for a movie that’s anything but. If the new name threw some film-goers off the trail, United Artists’ failure, as Kotcheff recalls it, to “spend 25 cents on publicity” made certain that the rest of its potential audience never heard about it in the […]
by Kevin Canfield on Oct 1, 2012 -
Another Web is Possible
Most mobile and wireline users rely on a commercial Internet Service Provider (ISP) to access the web. Such ISPs include big dogs like AT&T and Verizon, Time Warner and Comcast, as well as small fries like Earthlink and Juno. However, there is a second class of ISP that is little discussed: nonprofit ISP. Nonprofit ISPs involve two different types of providers – municipal or community networks and nonprofit corporations. In 2001, there were only 16 government-run networks in nine states. Today, there are an estimated 150 communities around the country with their own publicly-owned broadband networks. In the face of […]
by David Rosen on Sep 28, 2012 -
POV @ 25: Natalia Almada & Theo Rigby on the Personal and Political in Docs
In celebration of the 25th season of PBS’ groundbreaking documentary series POV, Filmmaker is this week running a four-part conversation series between two non-fiction directors with close ties to the show. A few weeks ago, award-winning documentarian Natalia Almada — whose new film, El Velador, is being aired as part of the 2012 POV season this Thursday — and Sin País director Theo Rigby, a photographer-turned-filmmaker, sat down to talk about a variety of issues that arise from their work. Through the course of the discussion, Almada and Rigby share where they’ve been, where they are now, and where they’re heading while dissecting different viewpoints of their […]
by Nick Dawson on Sep 26, 2012 -
Independent Film Week: 3 Films I Can’t Stop Thinking About, Part 3
The first rule of Film Week is that if you have time to blog during Film Week, you’re probably not doing it right. The second rule of Film Week is that if you attend, the best part is that you will meet all kinds of awesome people making awesome films. This may intimidate you. It’s okay. Be cool. I guess that’s the third rule of Film Week, bro: just be cool. When the good folks at Filmmaker Magazine asked me to blog about Film Week again this year, I knew I wanted to write about some of the awesome people making awesome […]
by Penny Lane on Sep 26, 2012 -
Peter Nicks, The Waiting Room
If you’ve ever endured an hours-long wait at the emergency room of a city hospital— sick, injured, frustrated — or accompanied someone on an infuriating quest to find urgent medical help, then you’ve probably wondered aloud, why is it taking so long? In his enthralling new documentary The Waiting Room, winner of the Guggenheim Emerging Artist Award at the 2012 Full Frame Film Festival, Bay Area filmmaker Peter Nicks wheels us into the chaotic emergency room of a teeming public hospital in Oakland, CA, serving a mostly uninsured patient population. Adopting an immersive, all-in approach that owes a strong debt […]
by Damon Smith on Sep 26, 2012 -
Eduardo Lopez and Wendy Thompson-Marquez on Harvest of Empire
My first ancestors to come to America journeyed on the Mayflower in 1620; it’s hard to have a heritage more firmly rooted in America’s beginnings and long history. Just under a hundred years ago, however, my grandmother on my father’s side left her native Holland and sailed into New York harbor, passing through Ellis Island before moving west with her parents. Growing up, I was much prouder of my Dutch heritage and status as a third-generation American than of my ancestors who established Plymouth Colony 300 years earlier. In the 1990s, I learned Spanish and spent two years living and […]
by Randy Astle on Sep 25, 2012
