6560 Results for “production”
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Ken Burns, The Central Park Five
If you have a confession, then you have a conviction. At least that was the open-and-shut premise at the heart of the Central Park Jogger case, a crime story that inflamed racist paranoia in late ’80s New York City, stoking sensationalistic media coverage and frenzied outrage in the era of Bernard Goetz, Tawana Brawley, and the Bensonhurst murder, when the city was gripped with tensions that seemed ready to combust at any moment. After a white Wall Street banker from the Upper East Side was raped, beaten, and left for dead on April 19, 1989, while out for her nightly […]
by Damon Smith on Nov 21, 2012 -
Rick Linklater Talks the Gotham-nominated Bernie
Bernie Tiede was the popular person in Carthage. We know this because the small East Texas town residents tell us themselves. They sit on lawns and in office chairs and talk to the camera in Richard Linklater’s new film Bernie, nominated for Gotham Awards for Best Feature and Best Ensemble Performance. This ensemble collectively tells of how Bernie (played in flashback by Jack Black) first came to town in 1985 as an assistant funeral director. Soon, they say, he led Carthaginians through the local church choir, town theater productions, and Little League, even helping people with their tax returns. He […]
by Aaron Cutler on Nov 21, 2012 -
A (Screening) Room of One’s Own: U.S. in Progress, Part Two
The central metaphor of Virginia Woolf’s A Room of One’s Own, as I remember it, is the university; she talks about the vast number of people who participate in its creation – from those who fund & design it to those who actually build it – the result of which is a single (male) student being able to sit and write. Woolf’s point is to illuminate the gendered nature of the systems and structures on which scholarship is built, but the scale of resources that go into the screening of any one film – especially one overseas, in the context […]
by Gregory Collins on Nov 20, 2012 -
FCP X and the Future of Editing
Editing is older than motion pictures. The ordering and pacing of dialogues, scenes, entrances and exits to build conflict and resolution have long defined Western theater, from Aeschylus’s Oresteia to Wagner’s The Ring of the Nibelung [Der Ring Des Nibelungen]. It was the insertion of first-person thoughts into dialogue and plot that modernized 18th- and 19th-century novels and clever sequencing of mechanically animated magic lantern glass slides that thrilled Victorian audiences to popular epics like Ben-Hur.
by David Leitner on Nov 19, 2012 -
B-Side: How a Bunch of First-Timers Made a SAG Ultra-Low Feature Without Blowing Up the Garage
Nine years ago, I walked into Sound One on my first run at my first internship. This summer, I walked out of Sound One having completed post-production on my first feature, B-Side, less than six months after we began pre-production. It wasn’t just a feature debut for me as a director, but also for our producer, DP, editor, 1st AD, and leading lady. Now rest assured, I could tell you dozens of things we would do differently. Free sample: Don’t shoot anything that will go in a movie’s first five minutes on the first day of shooting. And we have […]
by Amos Posner on Nov 19, 2012 -
Spanned Attentions
I’ll make this brief. Attention spans are not what they used to be. Everything I learned in film school failed to include tips on the pitfalls of the digital age of storytelling — because there wasn’t much of one back in 2000. I currently write a lot for youth audiences, and also web series. With web series, it’s basically trying to sum up an entire scene in one page. Or the entire episode in five pages. Trying to bend a whole story arc, pieces of the series arc, plus character motivations, subplots and gods forbid a beat or two — […]
by Mike Feurstein on Nov 19, 2012 -
Growing Up in an American Commune
The following is a guest blog post from the makers of American Commune, which is currently in the midst of a Kickstarter campaign to cover post-production costs. — SM When my sister and I started making our documentary about growing up on America’s largest commune, we honestly didn’t intend for it to be a personal story. At the time, we were both working as directors at MTV in New York City and none of our friends or colleagues had the slightest clue we were born on a commune called The Farm. We had left as kids in the 1980s when […]
by Rena Mundo Croshere and Nadine Mundo on Nov 16, 2012 -
Debating the Future of Hybrid Films at CPH:DOX
“Let’s start before we kill the term,” joked Jakob Hogel during the opening moments of “The Future of Hybrid Films,” a panel that took place last week at Copenhagen’s CPH:DOX. Preempting musty debate about the so-called hybrid genre, where various forms — usually documentary and fiction — are combined in single works, Hogel said, “We should be beyond the point of whether hybrid films exist, are dubious or morally wrong. They exist and who cares?” Hogel’s dismissal of hybrid handwringing doesn’t mean that the issues posed by such films aren’t being debated in the film industry. It’s just these debates […]
by Scott Macaulay on Nov 15, 2012 -
Destroying 17,000 Islands at CPH:DOX
While at CPH:DOX I attended a seminar titled “An Interactive Audience” spotlighting new works in transmedia. One of the projects discussed was 17,000 Islands, a work commissioned by the festival’s own DOX:LAB, directed by Indonesia’s Edwin (Blind Pig Who Wants to Fly) and Norwegian transmedia doc director Thomas Ostbye, and produced by interactive producer Paramita Nath. The project, in which Edwin (pictured) and Ostbye make a film that is then “destroyed” by its viewers over the internet, sounded fascinating, so afterwards I pulled Edwin aside to learn more. First, here’s the description of the project from the CPH:DOX catalog: 17000 […]
by Scott Macaulay on Nov 12, 2012 -
Two Filmmakers Walked into a Bar…
The US in Progress market begins tomorrow. I fly to Wroclaw, Poland, in a few hours. Translation: I am frantically packing, burning DVDs, and researching European distribution companies. An Introduction: I’m a longtime film worker and first-time filmmaker. I’m in the final stages of finishing my first feature. I’m 33 years old, I have two daughters, and I live in central Pennsylvania. For over 12 years I have been a full-time alchemist attempting to fuse well-rounded family life with a career in film. This is an uncertain science and the results have been inconclusive. But A Song Still Inside, my […]
by Gregory Collins on Nov 12, 2012
