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The 1998 Cannes Film Festival
While many important films premiered in front of attractively dressed people at this year’s Cannes Film Festival, the big story on the beach was the regal blessing accorded the American indie scene. Four films appeared in Competition plus a handful in the Director’s Fortnight, all produced in the United States outside of studio-based development and production systems. Further risking immodesty – after all, Filmmaker is a cheerleader for just this kind of work – the Festival was even more specifically laudatory: it celebrated the filmmakers who emerged from New York in the early ’90s and their powerful aesthetic influence on […]
by Noah Cowan on Jun 15, 1998 -
The 1998 Gen Art Film Festival
Gen Art gets a lot of flack for being a “party” festival. Each film shown at the New York City-based event is explicitly marketed with a party attached, usually in some fashionable SoHo night spot. Those who believe in the sanctity of the cinema deplore this cross-breeding of evening activities. Many film professionals who attend the parties claim they don’t know anyone there, and that this somehow makes the Festival lightweight. This is all bosh. Festivals have been founded on far more suspicious foundations than this, and in fact one big one – that I happen to work for called […]
by Noah Cowan on Mar 19, 1998 -
Intelligent Screenplay Development
This article originally appeared in our Fall, 1995 print edition. Development is a dirty word in the film business. To screenwriters in Hollywood, it means toiling under the tutelage of a team of business people, endeavoring to give them what they want, all the while realizing that there is little chance that their script will ever get made. To development executives, it means finding an idea, novel, or original screenplay and then having to work with a writer who can be alternately moody, recalcitrant, or even lazy – and then being disappointed with the results. For the studio executive, development […]
by Barbara Schock on Jan 19, 1995 -
The Cannes Film Festival 1994
The strapless celebutante, doused in an atomic shower of paparazzi flash, scales a palatial stairway with her impossible heels and perfect smile. At the summit, she joins her seventh husband, a vaunted master of European cinema sporting an ill-fitting tuxedo. He is fondly recalling an afternoon extolling the virtues of a since-denounced Communist film bureaucrat to an enraptured Van Nuys-based creator of erotic thrillers, himself bankrupted by the two watery cappuccinos just purchased from a surly waiter who undoubtedly will have better seats than any of them for tonight’s film. All four have great tans. An, hypocrisy, cash and glamour; […]
by Noah Cowan on Jun 15, 1994
