6576 Results for “production”
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Enabling What is to Come: IFP Previews its 2017 IFP Week
“Film” — what’s in a word? It’s still the first half of Filmmaker, even as our new logo design nods to the ways in which this term’s meaning is continually mutating and no longer fixed in celluloid. But, as Joana Vicente, Executive Director of IFP (Filmmaker’s publisher) and the Made in NY Media Center notes, it’s been dropped this year from the name of IFP’s signature event, which begins today through September 21 in Brooklyn. Over the last several years “Independent Film Week” has shortened to “IFP Film Week” to, now, simply, “IFP Week.” That’s because, as Vicente says, “the […]
by Scott Macaulay on Sep 16, 2017 -
The Velocity of Money: Breaking Down the Microbudget of Princess Cyd
My origins as a filmmaker split the past 25 years in two. I’m now nearly as close in time to my debut efforts as I was to the early 1990s American New Wave when preparation for those efforts began. As an aspiring filmmaker with no formal film training, nothing was more inspiring to me during the mid-aughts than soaking up the narratives of DIY filmmakers who took it upon themselves to make something from nothing, way back in the grand ol’ 20th century. In reviewing the logistical and budgetary recaps presented in these pages by Peter Broderick more than two […]
by Stephen Cone on Sep 14, 2017 -
Ana Maria Vijdea
Born in 1991 and raised in Romania, Ana Maria Vijdea had an itinerant upbringing even before she traveled outside the country: Her parents filed for divorce in 1990, during the transitional period after dictator Nicolae Ceaușescu’s death. “People didn’t exactly know what a divorce is and how to deal with it,” she says. “They had to travel a lot and start from scratch.” Vijdea was raised for part of her childhood by her grandmother in the small town of Buzău, then moved alone to the larger city of Cluj-Napoca at age 15, working to support herself. Originally intending to write […]
by Vadim Rizov on Sep 14, 2017 -
It’s a Small World: Sean Baker on The Florida Project, Shooting 35mm and Going Union
I experience a bit of a disconnect when setting up my interview with Sean Baker about his indelible new feature about childhood, The Florida Project. The publicist tells me to meet Baker at the storied Stonewall Inn, where, before me, Baker will be doing an interview about the iPhone. It takes me a second to piece that together, but then I get it — Baker’s last film, Tangerine, starred trans actors and was shot on the iPhone, which marks its 10th anniversary this September. Baker, I guess correctly, is being interviewed for some tech website’s history of the transformative tech […]
by Scott Macaulay on Sep 14, 2017 -
Nijla Mu’min
Speaking from her home in Oakland, Calif., Nijla Mu’min connects her interest in storytelling to an early love of fiction and poetry plus the stories her dad would tell her growing up. “I’ve always been interested in pulling images from daily life, and poetry helped me do that — to understand how individual moments can reveal a statement about humanity,” she says. “Poetry also taught me about the economy of language, evoking emotion through imagery and brevity, which informs my screenwriting.” The other major factor shaping Mu’min’s work is her early family dynamic. Primarily raised by her mom after her […]
by Vadim Rizov on Sep 14, 2017 -
No Sell Out
In the infant years of this publication, Ted Hope wrote a piece musing on the death of 1990s off-Hollywood production models, and controversy arose! I was only 12 at the time, but I glean now that there was a sense then — at least in this tiny community of cultural producers and aspirants — that the debate within Hope’s “Indie Film is Dead,” (and then-partner James Schamus’s response “Long Live Indie Film”) mattered. But here we are, making magic together still. This 25-year-old magazine, and the tiny corner of the entertainment industry it covers with a level of detail and […]
by Brandon Harris on Sep 14, 2017 -
Ricky D’Ambrose
Currently in post-production, Ricky D’Ambrose’s first proper feature, Notes on an Appearance, tells — and withholds — the story of a young man, drifting in political circles, who disappears relatively soon into the film. First drafted in 2008, the feature further refines a style D’Ambrose has honed over a series of five ambitious shorts. When it came time to make Notes, the writer/director shrunk his “talky and rambling” 200-page draft into something that’s “much quieter.” He says, “I found a way to replace dialogue with street sounds — sounds of cars, sounds of air conditioning units, sounds of footsteps, or […]
by Vadim Rizov on Sep 14, 2017 -
Image Shift
No stretch since the dawn of motion pictures 125 years ago has seen as much disruption in the ways we conceive, manufacture and consume cinema as the quarter century chronicled in the first 100 issues of Filmmaker Magazine. I know because I was along for the ride. My name first appeared in Filmmaker in 1993, in a Super 16 production article that covered an advanced cinematography workshop I gave at the Southeastern Media Institute in Columbia, South Carolina. State of the art at that time meant a Fostex PD-2 DAT recorder, Aaton film timecode, floppy disk-to-telecine audio syncing, new Eastman EXR […]
by David Leitner on Sep 14, 2017 -
Nabil Elderkin
Nabil Elderkin has told his origin story so many times, but on the phone from L.A. he gracefully relays it again for Filmmaker readers: “I was born in Chicago and moved to Australia when I was three, to a beach town. I grew up there and surfed, but when all my friends became better than me and got sponsors, I became the guy who stayed on the beach shooting the surfers. It kind of sucked, but it got me learning about cameras.” Elderkin moved back to Chicago when he was 17, he continues, and started taking photos of local musicians […]
by Vadim Rizov on Sep 14, 2017 -
Forced Perspective: Yance Ford’s Strong Island
Consider the physical closeness necessary to feel air pass out of the lungs and through the nose of a Black man, the spatial distance needed for your nose to touch his sigh. Face to almost blurry face — so much that when the corners of his mouth dart up, down and around, when talking or gesturing or from involuntary conduct, you notice the landscape between his corresponding cheek and chin bow like the warping of a shimmering trampoline. The pinhole pores of this brown-laden terrain become another optical reveal that transpires only after your mind’s eye adjusts to the formerly […]
by RaMell Ross on Sep 14, 2017
