6582 Results for “production”
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Hearing Central Pitches at the IDFA Forum
So, I am in Amsterdam, attending my first IDFA, a fest I’ve been dreaming of attending since I first started working in documentary. IFP has 11 films in the fest, and four works in progress in the Forum, so I’m here for moral support, promotion of IFP, and reconnaissance. What is happening in documentary in the rest of the world? In advance of my arrival, I was most anticipating being a part of the Forum, “IDFA’s international co-financing and production market, Europe’s most important breeding ground for new documentary work.” The Forum presents works in progress to the international funding […]
by Rose Vincelli Gustine on Nov 22, 2012 -
Profiling the SFFS/KRF Filmmaking Grant Finalists (Part 1)
Following on from the Bay Area Boom article about the San Francisco Film Society’s Filmmaker360 program, we are profiling the 13 finalists for the SFFS’s Kenneth Rainin Foundation Filmmaking grant. The winners of this award will be announced on December 8. RYAN COOGLER, FRUITVALE Synopsis: Based on a true story, Fruitvale follows Oscar Grant, a 22-year-old Bay Area resident, who crosses paths with friends, enemies, family, and strangers on New Year’s Eve 2008. Bio: Ryan Coogler is a 26-year-old filmmaker based in the Bay Area. He earned his MFA at the University of Southern California School of Cinematic Arts in 2011, where he made several short […]
by Filmmaker Staff on Nov 21, 2012 -
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
