“I’ve been around so long that I’ve seen the ‘death’ of independent film at least three times” – Christine Vachon, Producing Masterclass Widely regarded as one of the key figures in American independent cinema, Christine Vachon is now well into her fourth decade of film production. Her first feature film as a producer was Todd Haynes’ corrosive, Jean Genet-inspired Poison (1991), which set the tone for the host of fearlessly confrontational films that followed, including Tom Kalin’s Swoon (1992) and Larry Clark’s Kids (1995). In 1996, alongside Pamela Koffler, Vachon co-founded the NYC-based production company Killer Films, which has been […]
The interview below first ran as part of Filmmaker‘s coverage of the 2013 Cannes Film Festival, where The Great Beauty had its world premiere. It is released today through Janus Films. Paolo Sorrentino’s latest film, The Great Beauty, premiered in competition in Cannes this year, wowing fans with its over-the-top depiction of modern Rome. Seen through the sad eyes of an aging journalist, Jep Gambardella (Toni Servillo), the film uncovers a series of unsettling scenes where everyone in Rome aims to be an actor on his or her own stage. And Jep is at the center of it all, a man who squandered his […]
Technology tipping points – when something goes from the unusual to the commonplace – can happen with unexpected rapidity. Has 4K reached a tipping point, and if so what aspect of 4K? Acquisition, production, distribution, or all three? If you’re shooting a film today, should you be shooting in 4K? The answer to these questions is complicated by cost, complexity and the long-term shelf-life of your project. Today, a convincing argument can be made for shooting in either 4K (future proof) or HD (cost effective and most people won’t see the difference). One thing seems for certain; we will be […]
The psychological thriller/horror movie AfterDeath is the first feature film of directors Gez Medinger and Robin Schmidt. Shot on a tight budget and a tight schedule, the development and shooting of AfterDeath offers a lesson to anyone looking to make their first feature. AfterDeath is currently in post-production and is expected to be released in early 2014. Filmmaker spoke to Medinger about the project shortly after shooting wrapped. Medinger and Schmidt met at Oxford University in the late ’90s. Schmidt was studying English and Medinger was studying engineering. After leaving university, Schmidt became interested in film and video and learned […]
Not long after he founded Dogfish Pictures in 2009, producer James Belfer sensed an industry-wide disconnect between content creation and return on investment. Filmmakers, he gleaned, were concerned with short-term assets, agreeing to sell their film to distributors for a fixed sum that was a mere fraction of the eventual profit. In order to capture the full value of their content, filmmakers would need a new set of marketing tools and a fair bit of elbow grease. Belfer felt that any of these strategies would not be found in the traditional film industry at all, but rather, in the tangential […]
This article by Tom Putnam and Brenna Sanchez about the distribution of their Detroit firefighter documentary Burn originally appeared in our Fall, 2013 print edition. It is appearing online for the first time. “The reports of my death are greatly exaggerated.” — Mark Twain As filmgoers are increasingly flooded with new media options to keep them at home, the prevailing theory is that the days of theatrical releases for independent films are in their last slow throes. We disagree because we just spent the last year filling 300- to 2,000-seat theaters in 170 cities with our firefighter documentary Burn. We […]
Over 25 years of directing films, Claire Denis has explored the silent rhythms of men and women as they move through spaces of romance and violence, attraction and solitude in stories that range from the love affairs of cannibals (Trouble Every Day), to the exercises of the French Foreign legion (Beau Travail), to the every day spaces of domesticity (35 Shots of Rum). A filmmaker who prefers monologue to dialogue, and silence to any speech at all, her intimate spaces, impressionistic photography, and oblique scenarios can divide audiences, but provide untold riches for those willing to forgo plot devices and […]
The memories of our childhood are owned, their copyrights controlled by giant multinational corporations. Whereas the fantasy figures of the 20th century hail from centuries-old sources — the Brothers Grimm, Greek and Norse mythology — their contemporary incarnations, found on T-shirts, lunchboxes, mugs, iPhones and in video games, constitute precious intellectual treasure, their value diligently upheld by World Trade Organization rulings. Or, to phrase things a bit differently: If you’re an independent filmmaker, make sure your lead actor isn’t wearing a Mickey Mouse T-shirt you haven’t cleared! Despite the forces aligned against pop culture-deploying media artists in our mash-up, remix […]
Digital cinema has afforded independent filmmakers many benefits, one of which is the ability to achieve something previously only the province of big-budget films: very high shooting ratios. However, the resulting mass of footage can overrun the typical understaffed, underfunded, low-budget edit room. “You’re shooting more footage, and usually with two cameras,” says Paul Frank, editor of the recent Maggie Carey comedy The To Do List. While he notes that there are many pros to this way of shooting — it benefits performance, it allows for more improvisation and, ultimately, more options in the edit room — he also notes […]
As I wind up my festival and theatrical run of my film Between Us, it’s gratifying to see the amazing reviews for our four-person ensemble cast, with critics using blurb-ready adjectives like “brilliant,” “razor-sharp” and “career-best” to describe the performances of Julia Stiles, Taye Diggs and Melissa George. David Harbour, in particular, just won the Best Actor prize at the Woods Hole Film Fest, and many reviews agree that he steals the movie in his breakthrough film performance. Naturally, all credit is due to the actors themselves. But a couple people nicely said that I couldn’t have screwed up the […]