6576 Results for “production”
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Getting Strong Now: Andrew Bujalski on Results
Andrew Bujalski’s first three features — Funny Ha Ha, Mutual Appreciation and Beeswax — were all more or less of a piece: illusorily casual 16mm portraits of young people in ambiguously comfortable stasis in, respectively, Boston, Brooklyn and Austin. Computer Chess, released in 2013, was a total UFO both in relation to his work and in relation to just about everything else. Film was out, but instead of clean digital, Bujalski shot on three 1969 SONY AVC-3260 cameras, its unfamiliar type of black-and-white grain making even denser a complicated comedy about a computer chess conference happening sometime in the late […]
by Vadim Rizov on Apr 28, 2015 -
15 Sexy Things You Get to Do When You Think Your Film is Finished
Okay, you’ve spent seven years making your indie opus, another two years playing the festival circuit, and somewhere along the way you even managed to sell your film and get distribution. Hooray, you’re done and the party’s over! Your goal by this point is undoubtedly to move on and start working on the next film. But, wait a second, just because you’ve “sold” your film and you “got” distribution doesn’t mean your job as a filmmaker is “done” (or that you need to stop using “air quotes”). On the contrary, you’re still staring at a 20-to-life sentence for your film. […]
by Dan Mirvish on Apr 28, 2015 -
Dispatches from Sundance, Berlin, SXSW, True/False & Thessaloniki
Sundance SCOTT MACAULAY Check it out: the two top prize winners at Sundance this year, Alfonso Gomez-Rejon’s Me and Earl and the Dying Girl, and Crystal Moselle’s The Wolfpack, both feature as central elements teenagers who stage and film their own versions of classic movies. There’s even overlap between the two films, although Moselle’s Manhattan shut-ins incline more towards Tarantino and Freddy Krueger, while Gomez-Rejon’s teen Pittsburgh auteurs shirk the Romero roots of their hometown for deep dives into the Criterion Collection. For film lovers of a certain age, both Me and Earl and the Dying Girl and The Wolfpack […]
by Filmmaker Staff on Apr 28, 2015 -
Act Naturally
“Giving the movie its comic and poignant dimension is Brennan’s performance as Brennan.” In the wake of Albert Maysles’ death in March, I returned to this intriguing reference to “performance” in Vincent Canby’s 1969 review of Salesman, Albert and David Maysles’ landmark work of direct cinema. Canby was, of course, referring to Paul Brennan, affectionately known as “The Badger.” Brennan’s performance — if we can call it that — is indeed astonishing. A man of unremarkable looks, he holds the screen with an enthralling intensity. Of course, Brennan isn’t an actor but rather a “real person,” a documentary subject of […]
by Jesse Moss on Apr 28, 2015 -
A Rising Tide?
In a sure sign that the U.S. economy is improving, Wal-Mart employees and union actors in low-budget movies received an approximate 25 percent wage hike earlier this year. Across the country, companies like McDonald’s and many U.S. states are also raising workers’ pay. Such positive economic indicators should be cause for celebration, but for low-budget filmmakers, they signal a more expensive world in which to do business. As prolific producer Jay Van Hoy (The Witch) says, “It’s inflation, you know.” While inflationary expenses won’t severely impact medium-budgeted independent films, rising costs could imperil the vast number of micro-budget productions, which […]
by Anthony Kaufman on Apr 28, 2015 -
Finding the Pause Button
A lone van sits idling outside terminal four at JFK. As the last of the passengers settle into their seats, a voice cracks through the early morning silence: “Does anyone know where we’re going?” Nervous laughter fills the air. “Welcome to Forward Slash Story,” says the man behind the wheel as he pulls away from the curb. Twenty storytellers working across a diversity of disciplines (film, TV, theater, gaming, publishing and product design) have traveled from around the world to gather for a residential lab to explore, challenge and experiment with the creative process. Their destination is a secret remote […]
by Lance Weiler on Apr 28, 2015 -
Kick Out the Jams
Ten years ago, without a sliver of experience, the Lebanese-born, Detroit-based Rola Nashef conceived what would become the short precursor to her acclaimed 2012 independent feature Detroit Unleaded. She had the idea to relate the quotidian trials of an Arab-American man working behind bulletproof glass at an inner-city filling station and had to figure out how to do it. “The short script,” she claims, “was the first time I’d written anything in my life.” After making the short, she spent a year with it on the festival circuit and another distributing it to universities for educational purposes, bucking the notion […]
by Sarah Salovaara on Apr 28, 2015 -
Haunted Houses and Hidden Spaces
The Dark Net: Inside the Digital Underworld Behind the familiar Internet most of us inhabit skulks the dark net: unlinked, encrypted, password-protected sites and pages serving as forums for everything from marijuana-by-mail sales to mutual suicide webcam pacts. Author Jamie Bartlett is director of the Centre for Analysis of Social Media at the United Kingdom think tank Demos, which makes him well qualified to dive in and find out what the deeper implications of the dark net might be. Some British reviewers have taken issue with Bartlett’s optimistic assessment that these unregulated channels are by and large a good thing; […]
by Filmmaker Staff on Apr 28, 2015 -
I’ll Come Running: Alfonso Gomez-Rejon and Jesse Andrews on Me and Earl and the Dying Girl
Those are people who died, died! They were all my friends, and they died! — Jim Carroll Do you remember your first experience with death? Most likely it was a grandparent passing. Or maybe a parent? Or, quite possibly, someone you knew at school, whether or not that person was a close friend. I remember mine — the younger brother of an elementary school classmate. He’d always prank on his older brother in the line to get into school each day, sneaking up on him from behind and then grabbing his lunch bag. A tug of war would ensue, the […]
by Scott Macaulay on Apr 28, 2015 -
The Silent Treatment: Director Miroslav Slaboshpitsky on The Tribe
The word “bravura” gets thrown around all too often in the realm of ambitious filmmaking (perhaps in arts criticism in general?), but there is seemingly no other word to describe the colossal craft on display in Ukrainian helmer Miroslav Slaboshpitsky’s Cannes 2014-premiering debut feature, The Tribe. The film’s narrative — which hews somewhat to the genre obligations of a Western, as Slaboshpitsky points out — concerns a young man, Sergey (Grigoriy Fesenko), who is a newcomer at a deaf boarding school in Ukraine. No sooner has Sergey arrived than he realizes that the school is run by its administration in […]
by Zachary Wigon on Apr 28, 2015
