6576 Results for “production”
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Celine Held and Logan George
Husband and wife filmmaking team Logan George and Celine Held have a bit of advice for those looking to interweave drama-free creative and personal partnerships. “We try to adopt a ‘no bullshit’ rule with each other,” says George. “It’s a phrase we say that enters us into a safe space,” continues Held, “and then we tell the other what’s bothering us. ‘No bullshit!’” It’s good to know that the couple have a mechanism to sort out creative disagreements because a visit to the website of ELO Films, the company they formed in 2015, reveals a dizzying array of work, from […]
by Vadim Rizov on Sep 14, 2017 -
Chase Whiteside and Erick Stoll
When Chase Whiteside and Erick Stoll met at Wright State University in Dayton, Ohio, both were solely interested in making narratives, but a mandatory documentary class piqued their interest. “There’s something about being from Ohio, where you have less access to the kind of resources it takes to make a narrative feature than if you were going to school on the coasts or in a big media town,” Stoll says. “Two people willing to put in endless amounts of time can do a lot in the nonfiction form, and I think that’s partly why we embraced the model.” Currently in […]
by Vadim Rizov on Sep 14, 2017 -
25 Sentences
1. Inspired by a small pantheon of icons — Chantal Akerman, Jean-Luc Godard, Rainer Werner Fassbinder, Ulrike Ottinger — I sought rage and radiance together. 2. In the 19th century, the light on the far edges of the magnetic spectrum was dubbed “invisible light.” 3. But then I returned to her films —those of Chantal Akerman — hunched over the computer, watching frame-by-frame, excerpting image after image to create grids, comparisons, my own small compositions. 4. By rearranging the coordinates of space and time, he — media artist Daniel Crooks — creates a city in perpetual evolution, its times and spaces offering up new […]
by Holly Willis on Sep 14, 2017 -
The Art of It All
Art and film share an essential trait: They are both about what the artist, or filmmaker, chooses to put in the frame. There are multiple frames — literal but also metaphoric ones — in the latest feature from Swedish provocateur Ruben Östlund, his deviously sardonic The Square. The literal one is a 4-by-4 meter white-chalked box drawn on the grounds of the public space outside the film’s barely fictional X-Royal Museum. Within the frame of the film, the general public is invited to enter this work of conceptual art whenever they are in need of help — aid that passersby […]
by Scott Macaulay on Sep 14, 2017 -
Liza Mandelup
“Imagine if after seeing Titanic you could go home and watch Leonardo DiCaprio on Snapchat for the rest of his entire life,” Liza Mandelup says. “I would have been hooked.” Instead, after seeing the movie in 1997, Mandelup went home, told her mom she was in love with DiCaprio, and that’s where it ended. “I had no access to him.” In Mandelup’s first feature, In Real Life, now in postproduction, she documents the relationship between internet stars — ordinary teenage boys who film their lives to post on social media — and the teenage fangirls who avidly watch them ascend […]
by Vadim Rizov on Sep 14, 2017 -
Rachel Wolther and Alex H. Fischer
Rachel Wolther and Alex H. Fischer were both fans of Cocoon Central Dance Team — the gleefully absurd, entirely winning performance troupe consisting of Sunita Mani, Tallie Medel and Eleanore Pienta — when they decided to collaborate on an adaptation of Cocoon’s stage show, Snowy Bing Bongs. The two had never directed together before: Fischer’s CV consists of commercials, music videos and short comedic web pieces, while the majority of Wolther’s credits are as a producer. (Among many other titles, she produced Nathan Silver’s Stinking Heaven and Drew Tobia’s See You Next Tuesday, starring Pienta.) But they had met, years […]
by Vadim Rizov on Sep 14, 2017 -
Rise of the Machines: Cathy O’Neil and James Schamus on How Algorithms are Changing Society — and Filmmaking
Amazon and Netflix are having a huge impact on the independent film business, and there are more players entering the subscription VOD space every day, both here in the United States and worldwide. I myself just had a great experience working with Netflix on Kitty Green’s Casting JonBenet, which Green, Filmmaker’s own editor-in-chief Scott Macaulay and I produced. Opening day on Netflix was, though, a bit unsettling. The data driving the film’s marketing, and the measures for its success or failure, are closely held corporate secrets — even the sources and kinds of data the company uses to determine how […]
by James Schamus on Sep 14, 2017 -
The Color of the Future: Roger Deakins on Blade Runner 2049
There isn’t much left that legendary cinematographer Roger Deakins hasn’t done behind a camera. He’s shot science fiction, war movies, biopics and westerns. He’s dabbled in gorgeous black and white and lensed a Bond film. He’s forged rewarding collaborations with the Coen Brothers, Sam Mendes and Denis Villeneuve and worked with Scorsese and Sayles. So, is there anything remaining on Deakins’s cinematic bucket list? “What I really like doing is small personal dramas,” said Deakins with a laugh. “I don’t really like action films. I like films about people. I would’ve loved to have done Ken Loach’s films or movies […]
by Matt Mulcahey on Sep 14, 2017 -
Market Timing: Sales Agents Glen Basner and Ryan Kampe Talk the History and Current State of Independent Film Sales
Independent film has always had a funny relationship with the world of foreign sales. In the ’80s, it wasn’t uncommon for a certain breed of hip, black-clad downtown New York filmmaker to find most or all of his or her funding from a besotted West German TV-commissioning editor. By the late ’80s and early ’90s, following the model of Jim Jarmusch, independent film produced auteurs like Hal Hartley who developed real audiences — and financing — in territories like France, Germany and Japan. But for a myriad of reasons — and, indeed, like the rest of the film business — […]
by Scott Macaulay on Sep 14, 2017 -
Beth de Araújo
When I hesitantly tell writer/director Beth de Araújo that her gripping, disturbing screenplay Josephine — based on an actual event from her own childhood — reminds me a bit of We Need to Talk about Kevin, I’m happy when she affirms that I’m on the right track. “I actually describe it as Taxi Driver meets The Kid with a Bike,” she replies. Set to be the L.A.-based writer/director’s first feature, Josephine has been making the rounds. It’s gone through the Sundance Screenwriting Lab, the IFP No Borders International Co-Production Market, and it won the Rainin Filmmaking Grant from the San […]
by Vadim Rizov on Sep 14, 2017
