6577 Results for “production”
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Cash Back: How Film Tax Incentives Work
Let’s assume you got into filmmaking because you wanted nothing to do with business school. Well, tough. Movies are the most expensive art form; even ones they call “no-budget” aren’t. You need to learn about business eventually, and in today’s world, even independent filmmakers need to understand terms like “transferable rebates,” “soft money” and “100 percent deductibility.” In fact, there’s one financing term both Hollywood and independent producers must know: “tax credits.” The studio world is continually on the lookout for states offering production rebates that will reduce the cost of their movies and TV shows, while independent producers scout […]
by Matt Prigge on Mar 8, 2018 -
The Irish Way
The way writer/director Michael Tully and producer George Rush tell it, Don’t Leave Home, Tully’s new feature, started with the idea of a place and a vibe. The vibe was sophisticated art house horror — something in the vein of Nicolas Roeg’s classic ghost story, Don’t Look Now — where things just feel off. And the place would be Ireland — specifically, Dublin and the spectacular mountains and eerie bogs of County Wicklow, about 40 miles south of the city. But, as Austin-based Tully — whose last feature was the Ocean City, Md.–set Ping Pong Summer — explains, there wasn’t […]
by Scott Macaulay on Mar 8, 2018 -
Paris By Night: Making a Nathan Silver American Independent Film in Paris
Foreign productions shooting in France have two options to obtain tax rebates. One is to officially become a French production, which requires a co-production treaty and going through the French Ministry of Culture’s CNC agency. For Nathan Silver’s Thirst Street, that wasn’t a practical option: the United States is one of the few countries to have no co-production treaty with France. (The United States has no coproduction treaties with any country, in fact, but that’s another story.) According to Thirst co-writer/producer C. Mason Wells, the production had to go the more common Tax Rebate for International Productions (TRIP) route. The […]
by Vadim Rizov on Mar 8, 2018 -
Short Film Confessions Redux
Thirteen years ago, I wrote an article for Filmmaker: “Confessions of a Short Film Programmer.” In my introduction, I hinted at the most brutal clichés filmmakers should avoid (uncleared movie posters on the walls, a protagonist drinking from a Jack Daniel’s bottle, revealing a character to be a mime), but I didn’t want to completely wallow in the negative. After all, as a programmer of short films at Sundance, I’m fortunate to have such a cool job, even if it also happens to be the only job I’m capable of doing professionally. Since the publication of that article, the world […]
by Mike Plante on Mar 8, 2018 -
At Bydgoszcz, Bigger Was Better — A Glimpse at Our 8K Future
DPs, not directors, are the rock stars at Camerimage, the film festival in Bydgoszcz, Poland, devoted to the foundational art of the motion picture camera. The world’s best cinematographers, if not working, flock there each autumn.The 25th edition, which wrapped several months ago in November 2017, proved no exception. The festival hub is a modernist opera house, perched above The Brda, the narrow river that bisects picturesque Bydgoszcz (once known as “Little Berlin”). Centrally located, Opera Nova hosts two theaters, including the festival’s main venue. A long, ground-floor lobby and second-floor hallway, curved thanks to the building’s cylindrical shape, house […]
by David Leitner on Mar 8, 2018 -
Editor’s Letter
This magazine is called Filmmaker, but even if you’re just a casual reader, you’ll know that we’ve always defined that term expansively. Yes, directors are usually the focus, but we apply the term across the filmmaking spectrum, fully aware of how good work by vital collaborators throughout the production process shapes the finished product — what’s commonly called “the director’s vision.” Midway through our 25th year, we stick to the term “filmmaker,” hoping that it’s elastic enough to include a wide range of visual storytellers, like this issue’s Eliza McNitt, whose VR SPHERES: Songs of Spacetime was one of the […]
by Scott Macaulay on Mar 8, 2018 -
The Politics of Waiting: Lucrecia Martel on Zama
Lucrecia Martel’s ambitious historical drama Zama opens with a decidedly muted image. The film’s eponymous protagonist stands alone at a river’s edge staring into space with a look of quiet expectation. The water faintly laps at his feet, and a pale sky provides an indifferent light. Suited in full colonial regalia, he appears small and lonely against the rugged landscape, a man lost at the edge of the world. Moments later, he is seen hiding in the grass like a naughty child, spying on a group of naked women bathing in the river. They laugh and call out, “Voyeur! Voyeur!” […]
by Paul Dallas on Mar 8, 2018 -
Beautiful Abyss: Eliza McNitt on her Visionary VR
Filmmaker Eliza McNitt’s second VR film, SPHERES: Songs of Spacetime, has made history as the first VR film to sell at Sundance. CityLights, a VR financing and distribution company, acquired the project as a three-part series for a significant seven-figure deal. Narrated by Jessica Chastain, SPHERES is inspired by the recent discovery that gravitational waves make their own music, and it visualizes the collision of two black holes that produce these movements. With the Oculus Rift headset and hand controllers, the viewer uses their voice and body to interact with the cosmic landscape, drawing stardust circles while being pulled into […]
by Meredith Alloway on Mar 8, 2018 -
Here Comes the Automation: How AI is Poised to Change Filmmaking
I’d like to start with a disclaimer. This article does not present a dystopian view of the rise of automation. There will be no musings about Skynet or how artificial intelligence (AI) is going to exterminate the human race. While there is no doubt that a ubiquitous and pervasive technology like AI will forever change the way we live, learn and work, many of those stories have been already written and will continue to be. With the rise of AI comes a host of ethical, political, and economical challenges. But for now, let’s focus on how machine intelligence can augment […]
by Lance Weiler on Mar 8, 2018 -
Rodeo Dream: Chloé Zhao on The Rider
The Rider, Chloé Zhao’s miraculous second feature, possesses a narrative that feels both as old as time and riveting in its newness: A young rodeo star has a tragic accident and must battle adversity on his way to recovery. You know this story. Except, through Zhao’s eyes, “redemption” looks different from what we’ve been conditioned to expect in a culture built on stories of success and celebrity. Every character on screen in The Rider is a real person, playing a version of themselves. But this is not a documentary. The performances in The Rider are exhilarating and deep and true. […]
by James Ponsoldt on Mar 8, 2018
