6291 Results for “Open ”
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WILL FILM FOR FOOD
Ed M. Koziarski in the Chicago Reader posts a piece about mumblecore auteur Joe Swanberg in the months following his breakthrough film Hannah Takes the Stairs. He goes with the hook of Swanberg still struggling financially despite his mini-stardom (“It hasn’t changed my life at all,” Swanberg says. “I’m still sitting in Chicago wondering how I’m going to buy groceries. I’m not getting phone calls from agents or studios saying, ‘What are you up to?’”), but there are other observations in the piece worth noting. Like this one: Hannah Takes the Stairs grossed a respectable $6,000 on one screen its […]
by Scott Macaulay on Oct 18, 2007 -
Craig Gillepsie, Lars And The Real Girl
RYAN GOSLING DINES WITH PAUL SCHNEIDER, EMILY MORTIMER AND “BIANCA” IN CRAIG GILLESPIE’S LARS AND THE REAL GIRL. COURTESY MGM. Leading up to the Oscars on Feb. 24, we will be highlighting the nominated films that have appeared in the magazine or on the Website in the last year. Nick Dawson interviewed Lars and the Real Girl director Craig Gillespie for our Director Interviews section of the Website. Lars and the Real Girl is nominated for Best Original Screenplay (Nancy Oliver). In one of the more unusual coincidences on this year’s movie release schedule, Craig Gillespie has seen his first […]
by Nick Dawson on Oct 12, 2007 -
“It’s an Intermediary Kind of Format Designed to Move Ideas, Language and Structure to the Screen”: Oren Moverman Talks Screenwriting with Ryan Gosling
The following interview appeared originally in Filmmaker‘s Fall, 2007 print edition. We don’t cover enough screenwriters in Filmmaker, but that’s not entirely our fault. This magazine is devoted to independent film, and for many, the director is also the writer. Or the script has emerged from improvisation or some other nontraditional means. And while there is a new breed of independent-minded screenwriters today — Charlie Kaufman, Capote’s Dan Futterman and Juno’s Diablo Cody come immediately to mind — many of the “marquee screenwriters” still work almost exclusively in the studio world. By virtue of the unique niche that screenwriter Oren […]
by Filmmaker Staff on Oct 1, 2007 -
GAYLOR GOES TO THE SOURCE
Here’s a Google link to a conversation that Scott Kirsner from CinemaTech had during the IFP Filmmaker Confernece with Brett Gaylor, a Montreal-based filmmaker who is exploring new modes of collaboration for documentary filmmaking. I’m also embedding below, but if you go to the Google page you can download the 12-minute piece in a format suitable for playing on your iPod or PSP.
by Scott Macaulay on Sep 22, 2007 -
Alfredo De Villa, A Drift In Manhattan
VICTOR RASUK IN ALFREDO DE VILLA’S ADRIFT IN MANHATTAN. COURTESY SCREEN MEDIA FILMS. Though he is now living in Los Angeles, Alfredo De Villa can’t stop returning to New York City to make his movies. The 35-year-old writer-director was born and raised in Puebla, Mexico, but moved to the U.S. when he was in his teens. He began his film career with shorts, Joe’s Egg (1995) and Neto’s Run (1999), both of which went on to win him the DGA’s Best Latino Director Award. He studied Directing at Columbia University’s film program, after which he moved into advertising, and in […]
by Nick Dawson on Sep 21, 2007 -
FREE FAIR USE DISCUSSION
Tomorrow, Friday, is the final day of the IFP Filmmaker Conference, and it’s both free and open to the general public. From 9:00AM until 10:30AM panelists will discuss issues surrounding fair use in documentary film, the limits of, benefits from, and restrictions around E&O insurance, and specific issues that have arisen in various docs having to do with fair use. It’s at the Puck Building in New York at Houston and Lafayette. Anybody working in documentary film today has to know about these issues. Here’s the schedule: FRIDAY SEPTEMBER 21st – FAIR USE IN DOCUMENTARY FILM FAIR USE 101 9:00 […]
by Scott Macaulay on Sep 20, 2007 -
Winter Chill
In 2005 indie director Larry Fessenden was troubled by the state of the world—specifically, by our leaders’ callow response to the threat of global warming. So he did what he does best: He made a horror movie. The Last Winter, about a skeleton crew of oil-dredge workers afflicted by madness and other disturbing phenomena in Alaska’s Arctic National Wildlife Refuge, revisits some of the tropes in Fessenden’s spooky 2001 feature Wendigo, including a fearsome, shape-shifting deer-spirit. The film was overlooked when it premiered at the 2006 Toronto Film Festival, later acquired by IFC First Take (releases September 19), and recently […]
by Damon Smith on Sep 18, 2007 -
John Turturro, Romance & Cigarettes
CHRISTOPHER WALKEN IN JOHN TURTURRO’S ROMANCE & CIGARETTES. COURTESY UNITED ARTISTS. John Turturro has the distinction of being both a director’s actor and an actor’s director. A favorite of both Spike Lee and the Coen brothers, over the past 20 years Turturro has marked himself out as one of the most interesting and talented actors in film, and whether it is a blocked writer (Barton Fink), a socially-awkward chess master (The Luzhin Defense) or a grief-stricken widower (Fear X), he adds a depth and humanity to the characters he inhabits. In 1992, he directed his first film, Mac, about three […]
by Nick Dawson on Sep 7, 2007 -
SUBTERRANEAN HOMESICK BLUES
Perhaps because Gross doesn’t write for a daily outlet but more likely because the erudition of his criticism is genuinely thrilling, the occasional essays on film by screenwriter Larry Gross pack a punch within our metacritic’d, tomato-splattered blogosphere. Here he is with an early appreciation of Todd Haynes’s I’m Not There that’s just gone online at Film Comment. “How can a work not give us politics and yet be so political?” he asks in a piece that opens by quoting Jean-Godard, and Gilles Deleuze & Felix Guattari and ends by considering how Haynes’s film fits into a moment signified by […]
by Scott Macaulay on Sep 4, 2007 -
SOFT VOICES
For all the talk this past week about mumblecore — what it is and how these films are similar — it should also be noted how different the aesthetics of its various directors are. A case in point is this week’s opening at the IFC Center, Quiet City, directed by Aaron Katz, which boasts some of the trademarks of the genre — 20-something protagonists, a focus on transitory lifestates, relationship issues, an extreme naturalism — but which also has its own very distinct sensibility that’s quite different from some of the genre’s other filmmakers. As its title suggests, the film […]
by Scott Macaulay on Aug 29, 2007
