6576 Results for “production”
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~29 Movies Shot on 35mm Released In 2016
This is my third time rounding up the previous year’s US theatrical releases shot in 35mm, and this year’s number is substantively lower than 2014 (39) and 2015 (~64). This seems like an anomaly, not a permanent trend: following the high-profile push by J.J. Abrams et al. to force studios to pony up for a certain amount of Kodak celluloid for the forseeable future, the company seems solvent enough (and they’re bringing back Ektachrome!). Some celluloid regulars (Spielberg, Nolan, Abrams, Tarantino) sat the year out, while Woody Allen jumped to digital, and there are fewer straggler releases that were completed three […]
by Vadim Rizov on Feb 22, 2017 -
Five Questions for American Fable Writer/Director Anne Hamilton
The below interview was originally published during SXSW 2016, when debuting filmmaker Anne Hamilton premiered her ’80s-set, gothic thriller, American Fable, which melds del Toro-esque fantasy with a critique of Reagan-era economic policy. The film opens today in New York at the IFC Center. World premiering in the Visions section of SXSW is American Fable, the debut film from 2014 AFI Directing Workshop for Women graduate Anne Hamilton. Before beginning her career in film by working on the set of Terrence Malick’s The Tree of Life, Hamilton studied law and philosophy, and, as she relates below, she applied aspects of […]
by Scott Macaulay on Feb 17, 2017 -
Kubrick Connections in One Million Years B.C. and Two for the Road; Plus Edge of Seventeen and the Pure Cinema Podcast: Jim Hemphill’s Home Viewing Recommendations
Don Chaffey’s One Million Years B.C. (1966) is probably best remembered for its iconic poster image of scantily clad cavewoman Raquel Welch, but revisiting it via Kino Lorber’s excellent new Blu-ray release reveals it to be a far more — and in some ways less — interesting film than that. Less in the sense that it doesn’t really deliver the sexy goods promised by the famous marketing, but more for film buffs who will delight in the movie’s multitude of connections to other, often wildly disparate, classics of the era. It’s a surprisingly experimental movie in some ways, telling its […]
by Jim Hemphill on Feb 17, 2017 -
Witness Project: DP Ben Gaskell on Shooting with Lomo Anamorphic Lenses
Ben Gaskell is a freelance cinematographer and DP for Witness Project, a series of short documentaries about oppression. For a recent episode on Anastasia Lin, Miss World Canada 2015, Gaskell shot on the Blackmagic URSA Mini 4.6K using old Lomo anamorphic lenses. Filmmaker: How did you get involved with this project? Gaskell: The director was an editor on a documentary that I worked on and he knew that I had a knack for bringing an artistic flare to the documentary genre. We chatted about the series and ended up finding a common language, and he was really interested in the […]
by Michael Murie on Feb 15, 2017 -
Inside the IFP Labs: How to Claim Your Emerging Voice
Monday night’s event at the Made in NY Media Center — “Inside the IFP Labs: How to Claim Your Emerging Voice” — brought together three film directors and an episodic series producer, all of whom had gone through the various Labs, to talk about the process. A bit of background: the IFP Filmmaker Labs — the Narrative Lab and Documentary Lab — are open to first-time feature directors with works in post-production. Films must be budgeted under $1 million. The Screen Forward Lab is geared toward episodic media intended for any platform. All applicants must be IFP members. Sessions are […]
by Audrey Ewell on Feb 15, 2017 -
When It Comes to Raw, Focus World Sees Red: On Red Band vs. Green Band Trailers
“Aberrant behavior, bloody and grisly images, strong sexuality, nudity, language and drug use/partying.” So reads the information box on the R rating for Raw, Julia Ducournau’s tasty little horror film about a vegan who becomes a cannibal. Explicit films (gross-out horror flicks, bawdy comedies, sexy dramas) always face the same marketing challenge: how do you show the best parts of a movie when those moments might be too graphic? In the case of Raw, Focus World gave the movie two trailers: a mainstream gothic green-band trailer and a frenetically disturbing red-band trailer. Ironically, the two share a lot of the […]
by Stephen Garrett on Feb 15, 2017 -
Using Interviews and Animation to Bring the Sniper Documentary Tower to Life
The documentary Tower recounts the day in 1966 that a sniper on the University of Texas Tower killed 14 people and wounded dozens more. The film includes archival footage, interviews with those who were present and animated recreations of the event. In this interview, director/producer Keith Maitland and DP Sarah Wilson talk about the making of the film which receives its broadcast premiere on PBS on Tuesday, February 14th. Filmmaker: How did you become filmmakers? Maitland: I started off in narrative filmmaking, working on other people’s movies, and right around the time I met Sarah — we’ve been together 13 years […]
by Michael Murie on Feb 13, 2017 -
Why Make a Microbudget Film? Five Questions for Director Paul Harrill on the Virtues of Ultra-Low Budgets
Is there a business in microbudget filmmaking? The question is begged by the title of an upcoming class at the IFP’s Made in New York Media Center titled, yes, “The Business of Microbudget Filmmaking.” The program copy reads: In this class, you will learn proven, cost-effective filmmaking and business techniques for producing a $50,000 (or less!) film project. We’ll go step-by-step through the filmmaking process to discover tips and tricks for developing, planning, producing, and distributing a microbudget film. The class — a two-parter taking place February 13 and 20 — is taught by filmmaker Paul Harrill, which is itself […]
by Scott Macaulay on Feb 12, 2017 -
“The Bike is Going to Hit the Camera!” Chad Stahelski on John Wick: Chapter 2, Stair Falls and Other Stunts
“How can the same shit happen to the same guy twice?” moans John McClane in Die Hard 2. It’s the question at the heart of every high concept action movie sequel. Failing to adequately answer it is how McClane’s New York everyman cop ends up in Moscow, or why half of Bryan Mills’ family gets kidnapped in the Taken series. Following up John Wick poses a similar conundrum – how do you motivate a retired hitman whose bloody swath of revenge is initiated by the death of his wife and the murder of a cuddly puppy? Do you have his […]
by Matt Mulcahey on Feb 10, 2017 -
A New Kind of Magic: Douglas Trumbull on Magi, HFR and Dynamic Frame Rates
With the passing of Douglas Trumbull, the great visual effects pioneer, we’re reposting Sam May’s 2017 article from Filmmaker’s Summer, 2017 print edition on his innovative late-career work on high-frame-rate cinema. –Editor You might not recognize the name Douglas Trumbull, but you will certainly recognize his work. He is the man behind the special effects of 2001: A Space Odyssey, Blade Runner and Close Encounters of the Third Kind, and also the director of Silent Running and Brainstorm. In recent years, he has dedicated himself to “figuring out the future of cinema.” The result: Magi cinema, a means of shooting […]
by Sam May on Feb 8, 2017
