6583 Results for “production”
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Out of the Ashes
The term “immersive storytelling” is being heavily used at the moment, but it describes something that has been around for more than just the last few years. For evidence of this, you only have to look to the work of the innovative theater company FoolishPeople, founded in 1989 by British writer/director/actor John Harrigan. “We’ve watched as immersive theater and transmedia has grown in popularity,” Harrigan says, “and audiences have become more receptive to our work as their vocabulary of immersive theater and interactive experience increases.” Through his work utilizing early storytelling techniques, Harrigan developed what he calls the Theater of […]
by Nick Dawson on Oct 21, 2013 -
Editor’s Letter
Finishing a film — it’s a lost art. Back in the days of celluloid, there was a sense of finality once you received your cut negative from the negative cutter and completed your mix. Sure, you could open up your picture again — and depending on your distributor, you probably did — but the cost and hassle involved were real disincentives. Things started to change when festivals began screening works off HDCAM. I remember a celluloid-shot film I produced back in 2006. “You mean you’re going to cut the negative and screen a print?” the director’s agent asked in horror. […]
by Scott Macaulay on Oct 21, 2013 -
Bad Metrics
Even if you don’t know baseball, you probably know the term “batting average” (or BA), which is widely used as the best measure of a batter’s prowess. Defined as the number of hits divided by the number of times at bat, it’s reported as a decimal number (i.e., .300 refers to the praiseworthy remark “batting 300”). The three all-time BA leaders are Ty Cobb (.366), Roger Hornsby (.358) and Joe Jackson (.356). But some baseball insiders have criticized the metric because it doesn’t account for the quality of those “at bats.” For many, it’s a shortsighted statistic that elides the […]
by Anthony Kaufman on Oct 21, 2013 -
A Speck in the Ocean
At sea — we have all felt it, paradoxically unmoored even in our hyper-connected age. In only two pictures, that sense of disconnection, emotional confusion and fear is the metier of New York-based writer/director J.C. Chandor. His 2011 debut film, Margin Call, was a tightly focused drama about Wall Street traders fighting for their financial lives amidst the economic meltdown. Unfolding over 24 hours, Margin Call is a talky and claustrophobic movie plumbing the specific ethical quandaries of our current political moment. Assuredly directed and extremely well-acted, it would seem to have set Chandor up to make any number of […]
by Scott Macaulay on Oct 21, 2013 -
Super 8
1. Elevision Currently in beta, the short film download site Elevision (elevision.com) is the brainchild of former Wholphin creative director Malcolm Pullinger and Vimeo founder Jake Lodwick. It has a highly curated slate, with quirky titles like Quentin Dupieux’s Wrong Cops: Chapter One and The Arm, co-written and co-directed by Brie Larson. There’s also an embarrassment of riches from “25 New Faces” alums, including Palimpsest (Michael Tyburski and Ben Nabors), Rougarouing (Donal Mosher and Michael Palmieri), A Chjàna (Jonas Carpignano), Pioneer (David Lowery) and Life and Freaky Times of Uncle Luke (Jillian Mayer and Lucas Leyva). 2. Marmoset Portland’s indie […]
by Filmmaker Staff on Oct 21, 2013 -
Too Much of a Good Thing?
Digital cinema has afforded independent filmmakers many benefits, one of which is the ability to achieve something previously only the province of big-budget films: very high shooting ratios. However, the resulting mass of footage can overrun the typical understaffed, underfunded, low-budget edit room. “You’re shooting more footage, and usually with two cameras,” says Paul Frank, editor of the recent Maggie Carey comedy The To Do List. While he notes that there are many pros to this way of shooting — it benefits performance, it allows for more improvisation and, ultimately, more options in the edit room — he also notes […]
by Shaun Seneviratne on Oct 21, 2013 -
Matt Herron Talks Audition
Usually the term “a cast of hundreds” isn’t applied to a film with just two characters. But that’s exactly how to describe Matt Herron’s new feature Audition, an innovative film in which 100 actors — 50 men, 50 women — portray one couple over the course of a torrid romance. The concept is for this narrative story to be told through the documentary process of different actors interpreting the fictional roles (or, conversely, it could be seen as a documentary about acting that conveys a narrative storyline): the original 100 actors are winnowed down as the film progresses until the […]
by Randy Astle on Oct 21, 2013 -
13 Steps to Directing Famous Actors in a Microbudget Film
As I wind up my festival and theatrical run of my film Between Us, it’s gratifying to see the amazing reviews for our four-person ensemble cast, with critics using blurb-ready adjectives like “brilliant,” “razor-sharp” and “career-best” to describe the performances of Julia Stiles, Taye Diggs and Melissa George. David Harbour, in particular, just won the Best Actor prize at the Woods Hole Film Fest, and many reviews agree that he steals the movie in his breakthrough film performance. Naturally, all credit is due to the actors themselves. But a couple people nicely said that I couldn’t have screwed up the […]
by Dan Mirvish on Oct 21, 2013 -
Jeff Reichert and Farihah Zaman to Direct TFI/Rockefeller-Funded Sandy Doc
It’s been less than a year since Hurricane Sandy blasted New York and the TriState area, but already it has had a number of representations in film and transmedia, from Sandy Storylines to the narrative Stand Clear of the Closing Doors and the upcoming Sandy relief concert 12-12-12. Now to that list can be added a new title — and arguably the most definitive work about Sandy yet — This Time Next Year, directed by Remote Area Medical‘s Jeff Reichert and Farihah Zaman. (Full disclosure: Zaman is a regular Filmmaker contributor.) Uniquely, the project, which “tracks the resilience of Long […]
by Nick Dawson on Oct 17, 2013 -
Introducing Screen X, Cinema in 270 Degrees
The Busan International Film Festival saw the launch of Screen X, a cinema technology that promises to offer audiences an immersive cinematic experience without the need to wear glasses. The South Korean company behind the technology, CJ CGV Screen X, owns the CGV cinema chain and currently operates one American location in Los Angeles. To showcase the technology, CJ CGV Screen X commissioned The Good, The Bad, The Weird director Kim Jee-Woon to make The X. Ostensibly a spy thriller, it’s really just an excuse to show off the technology that augments the action on screen, by projecting images onto […]
by Kaleem Aftab on Oct 17, 2013
