6577 Results for “production”
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25 Films and Events We’re Looking Forward to at the 2018 SXSW Film Festival
SXSW, with its tens of thousands of tech enthusiasts and thousands of filmmakers and film fans, kicks off tomorrow with a typically sprawling program that mixes independent discoveries with coolhunting studio films, cutting-edge genre work with artistically-minded episodic series. As always, there is a lot we are excited about seeing, beginning with these 25 films you might put a little digital star next to in your festival app. Garry Winogrand: All Things are Photographable. The great Garry Winogrand — depending on the day, my favorite photographer — is the subject of Sasha Waters Freyer’s documentary, which happens to be the […]
by Scott Macaulay on Mar 8, 2018 -
San Francisco International Film Festival Announces its 2018 Golden Gate Award Feature Competitions
The San Francisco International Film Festival’s Golden Gate Awards Feature Competitions were announced today, and the 20 films span many well-received pictures we’ve had our eye on here at Filmmaker over the last year. These include 25 New Face RaMell Ross’s Hale County, This Morning, This Evening, Mila Turajlić’s The Other Side of Everything, Jordana Spiro’s Night Comes On, and Sandi Tan’s Shirkers. There are two world premieres: a US/Ghana production by Bay Area directors Zachary Fink and Alyssa Fedele, The Rescue List, about a safe house for kids escaping the country’s child labor system; and Tre Maison Dasan, US […]
by Scott Macaulay on Mar 6, 2018 -
It’s Really About You and Your Friends: Alex Henning on Creating Social Virtual Reality and Coco VR
With the release of Coco last year Pixar created yet another film that won over critics and audiences with rich visuals and a compelling story; it’s earned over $200 million so far and just took home the Best Animated Feature Oscar. Pixar wanted to use the property to push forward into new territory, though, and thus used Coco as the vehicle for its first virtual reality experience. To do so they tapped Magnopus, a Los Angeles-based VR/AR company that had previously produced Moana‘s virtual reality product for Disney. The result is Coco VR, a visually arresting gaming experience that also constitutes Oculus’s largest foray into social VR thus far. […]
by Randy Astle on Mar 5, 2018 -
BVOD (Blockchain Video on Demand), “Crewfunding” and VR Enthusiasm at the EFM’s Horizons Section
Artificial intelligence (AI), the blockchain and mixed reality were at the center of the recently completed Berlin Film Festival’s newly expanded Horizons section. Taking place within the European Film Market (EFM), the 2018 program’s focus on buzzy technological innovations bucked the predictions of some skeptics by drawing sold-out crowds and with several tech companies choosing the festival to launch their platforms. The continued expansion of virtual reality (VR) was also in discussion, with a wide range of projects, including the virtual behind-the-scenes of Wes Anderson’s opener Isle of Dogs, available for viewing in the festival’s inaugural VR cinema. EFM Director […]
by Tiffany Pritchard on Feb 27, 2018 -
Airing the Dirty Laundry: Three Documentarians on Making a Film About Their Own Families
Ben Stillerman — director of Taking Stock, a new film about his father’s South African family business — talks with two other documentary filmmakers about the particular joys and challenges of making films about family. Leah Warshawski is the director of Big Sonia, about her inspiring Holocaust survivor grandmother; Kate Dandel’s Gold Balls is about professional senior tennis and features her father-in-law. Stillerman: I came up with the idea for doing a film about my father and our family business partly because I knew I would have unfettered access to a very interesting person and story. I also knew that […]
by Filmmaker Staff on Feb 15, 2018 -
“What’s the Ripple Effect?… It Was the Most Complicated Script I’ve Ever Shot”: David Barrett on Directing the Time Loop Episode of Star Trek: Discovery
A couple years ago, I was in a hotel room flipping channels when I came across an episode of the popular CBS series Blue Bloods, an ensemble family drama in the form of a procedural anchored by Tom Selleck. I was struck almost immediately by how stylistically expressive the episode was; it was clear that the director had thought through a precise means of conveying each character’s perspective in a distinctive way, assigning specific focal lengths, camera moves, and color and lighting strategies to each protagonist. It was the kind of subtle but dynamic approach to visual design one finds […]
by Jim Hemphill on Feb 14, 2018 -
“In the Master’s Narrative, We Don’t Hear the Stories of the Oppressed, the Disenfranchised, of Women”: Director Cathy Lee Crane on Her SF Indiefest Premiere, The Manhattan Front
Developed with the support of a 2013 Guggenheim Creative Arts Fellowship, The Manhattan Front is experimental filmmaker Cathy Lee Crane’s first feature-length narrative film in a career spanning over two decades. True to Crane’s hybrid art film roots, though, The Manhattan Front melds melodramatic acting on silent-film-styled sets with newly digitized archival footage of daily life in New York City and on the front lines during World War 1. Via this unconventional approach Crane presents the true story of how a German saboteur’s plans to prevent American munitions from reaching Britain during a period of official U.S. neutrality became entangled […]
by Lauren Wissot on Feb 11, 2018 -
What is Producing? A Group of Sundance Producers Share Insights on Financing, Selecting Projects and Making a Career out of Making Movies
What is producing? I ask myself this question a lot, and the title on my business card literally reads “Producer.” I’m staff at a rad women-run studio in Brooklyn while also producing my own films as well as a handful of others. I say all this to reiterate just how amorphous the craft of producing can be. Because of its fluidity, it can also be a challenge to learn how to be better at it. Plus, producers rarely get interviewed in the industry articles that offer insights into filmmaking process. When they are featured, producing technique can be difficult to […]
by Meredith Alloway on Feb 7, 2018 -
“You Have to Make Money. It’s a Business”: Jesse V. Johnson on Accident Man, Scott Adkins and the Logistics of Fast DTV Shoots
For over 15 years, Jesse V. Johnson has been a reliable craftsman of action movies for the wildly unreliable DTV market. Born in England, he moved to Hollywood to work as a stunt performer in the 1990s, working on everything from Total Recall (1990) to The Thin Red Line (1999). He has bounced back and forth between stunt work and DTV directing ever since — whatever it took to pay the bills in an unpredictable career. One predictable thing over the last year has been the presence of Scott Adkins as his leading man. Adkins may not have the name […]
by R. Emmet Sweeney on Feb 6, 2018 -
“In Time, the Movie Always Reveals What It Wants to Be”: Editor Terel Gibson on Sorry to Bother You
One of the breakout hits of this year’s Sundance, purchased by A24 in the festival’s last days, Boots Riley’s ambitious directorial debut Sorry to Bother You takes place in a near-feature uncomfortably close to the present. Telemarketer Cassius (Lakeith Stanfield) makes his way up the corporate ladder when it’s discovered his “white voice” does wonders in selling product. His rise up the corporate ladder, bringing him to the attention of unsound company head Steven Link (Armie Hammer), worries his activist girlfriend Detroit (Tessa Thompson). Editor Terel Gibson told Filmmaker about the challenges of assembling Riley’s satirical first film. Filmmaker: How and why did […]
by Filmmaker Staff on Feb 5, 2018
