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Zach Wigon’s Top 20 Films of 2011
Throughout the month of December, Filmmaker‘s writers will be commenting on their favorite films of the year as well as business, tech, and cultural trends. To kick off, here’s Zack Wigon’s Top 20 Films of 2011. 1. Shame. Shame is unquestionably the real deal when it comes to the easily-melodramatic territory of the Addiction Film – the words “searing” and “raw” come to mind without irony – but what makes it the best film of 2011 is the fact that Steve McQueen seems hell-bent on upending everything we know about how stories are supposed to be told in cinema. For […]
by Scott Macaulay on Dec 5, 2011 -
WHAT’S IN MY INSTAPAPER: SUNDAY MORNING LINKS, 12/4/11
I haven’t done one of these in a while — a roundup of a few things I’ve stored in my Instapaper for weekend readings. As the year goes on, Melancholia is emerging as my favorite film of 2011. Part of the reason, I think, is that the discourse about it is becoming more and more interesting. Whereas Von Trier’s Cannes comments dominated the dialogue following its opening, now not just critics but viewers are grappling with the film’s meanings. From the Occupied Territories Tumblr comes “Depression, Melancholia, and Me: Lars Von Trier’s Politics of Displeasure,” an extraordinary essay in which […]
by Scott Macaulay on Dec 4, 2011 -
The ARRI Alexa: Bridging Past and Future
Originally published in the Fall 2010 issue. The time frame needed to produce an independent feature these days can seem longer than the lifespan of its underlying technology. Cheap HDSLRs challenge high-end camcorders that cost 50 times more. Even RED One, whose revolutionary bona fides were golden two years ago, suddenly feels status quo. And lurking around the corner — due at year’s end — is a vanguard of new, inexpensive large-sensor camcorders from all the usual suspects. It’s been said that the geek shall inherit the earth, but this is getting ridiculous. How’s a producer to make sense of […]
by David Leitner on Dec 4, 2011 -
Chloe Has the Bunny Ears
The bicycles are sitting in my storage unit, but Chloe Sevigny kept a key piece of costumery from Gummo: the rabbit ears she made for the Bunny Boy character. (Sevigny not only co-starred in the movie, she was also its costume designer.) She explains in this video released by Opening Ceremony tied to the launch of her third collection for the fashion house. (HT: Portable TV.) At Home with Chloë: Part 1 from Opening Ceremony on Vimeo.
by Scott Macaulay on Dec 2, 2011 -
IFP GOTHAM AWARDS: “BEGINNERS” DIRECTOR MIKE MILLS RECAPS HIS TWO WIN NIGHT
That was quite surreal. I’ve been to just two events like that before, so the red carpet shenanigans, seeing so many “movie stars” and directors you’ve listened to on DVD commentaries, and being in a room with so many people you’ve tried to get financing from – is really a strange experience. The kind that makes you all wild eyed and sweaty palmed. But mostly I was really truly just very happy to be there and felt very safe that we weren’t going to win anything and that I was just lucky to be included, to be in the group, to […]
by Mike Mills on Dec 1, 2011 -
Sundance 2012 Announces Films In Competition
The films selected for U.S. and World Cinema Dramatic and Documentary Competitions for the 2012 Sundance Film Festival were announced today. The compete list of titles are below. Films in the Spotlight, Park City at Midnight, NEXT and New Frontier sections are here. See films in the Premieres sections here. Taking place Jan. 19-29 in Park City, Utah (as well as Salt Lake City, Odgen and Sundance, UT), this year’s fest includes representatives from 31 countries, 44 first time filmmakers and 88 films will make their world premiere at the fest. Over 4,000 features were submitted for the 2012 edition […]
by Jason Guerrasio on Nov 30, 2011 -
Sleeping Beauty Writer/Director Julia Leigh
When Filmmaker chose Australian novelist Julia Leigh for our 25 New Faces list of 2008, the author of such books as The Hunter and Disquiet was teaching at Barnard while establishing herself as a screenwriter of provocative, nuanced dramas for directors like Walter Salles and production companies like Plan B. She said when I interviewed her that screenplay writing was originally a form of “diversion therapy” while working on Disquiet, but that she grew to appreciate the form. “I actually find scripts hard to read — ugly,” she said in 2008. “I got my head around the very basic conventions […]
by Scott Macaulay on Nov 30, 2011 -
Lightworks Revamp Just Around the Corner
Postproduction is in a state of flux. As is well known by now, Apple’s latest Final Cut Pro iteration left a lot to be desired for professional editors, and competitors Avid and Adobe were quick to step in and lure away Final Cut users. And now the newest competitor is also the oldest. Lightworks, one of the first viable nonlinear editing systems when it was first released in 1989, has been used by luminaries like Thelma Schoonmaker and has racked up a number of Oscars and other awards, including a technical Oscar and Emmy for the system itself. It couldn’t […]
by Randy Astle on Nov 29, 2011 -
The Microbudget Conversation: Form And Content
As we wind down “Season One” of the conversation we take a look back and discuss what might have been overlooked. When I first started this column my hope was that filmmakers and tastemakers would use this forum as a way to debate, raise questions, and challenge one another. For the most part I’ve been happy with the subjects raised by this column and the subsequent conversation that has started in the comments section of some of the posts. However, as we push forward in the new year I would like if we didn’t just talk at you, but with […]
by John Yost on Nov 29, 2011 -
Leitner’s Mondo NAB, Part 5: Roundup
Originally posted April 2011. This fifth and last NAB 2011 blog is really about churn. Churn, to my way of thinking, is the degree of agitation and upheaval in the industry at a given point in time, such as this NAB. Apple’s sneak peek of FCP X at the Final Cut Pro Users Group 10th anniversary SuperMeet reminded me that even a decade ago, indie filmmakers were still coming to grips with the desktop revolution. I remember producers transferring MiniDV cassettes of my footage to Betacam for digitizing back to Avid, oblivious to FireWire or FCP 1.0. How professional could […]
by David Leitner on Nov 27, 2011
