6560 Results for “production”
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Networking Frenzy
This year the Independent Filmmaker Project, the nation’s oldest and largest advocacy program for independent filmmaking, moved it on up, transferring its signature event, Independent Film Week, uptown to the sparklingly new Elinor Bunin Munroe Film Center, home of the Film Society of Lincoln Center. In her introductory remarks, Amy Dotson, IFP’s deputy director, described the relocation as a “homecoming.” The IFP’s original Market began as a sidebar to the New York Film Festival at Lincoln Center, and both organizations were thrilled to be working in partnership again. For the lucky producers, writers and directors whose projects had been selected […]
by Mary Anderson Casavant on Oct 23, 2012 -
From the Rubble
I arrived in Kabul in late May of 2011 with seven weeks to realize two objectives—shoot a new video in the ruined Darul Aman Palace on the outskirts of the city and teach a one-month video workshop at the Center for Contemporary Art Afghanistan (CCAA). The CCAA is a small nonprofit, based in a dusty-pink villa on a side street in Kartechar, that offers classes for female students in cooperation with the Fine Arts Faculty of Kabul University. CCAA students typically spend their mornings at the university and their afternoons at the center. Like other such arrangements in operation around […]
by Mariam Ghani on Oct 23, 2012 -
The Week in Cameras: Interesting Times Ahead
If the Mayan calendar goes beyond 12, we could be in for an interesting new year. The next few months should see several new cameras being announced or begin shipping, and 4K acquisition becoming almost mainstream. The New F From Sony Sony is letting people know that a new “F” camera will be announced October 30th. You can even sign up to be notified here: pro.sony.com Will this camera replace the current PMW-F3 ($13,000) or perhaps fall somewhere between that and the Sony F65 ($65,000)? It remains to be seen, but October 30th also fits with the time frame for the […]
by Michael Murie on Oct 22, 2012 -
“I Need to Feel When I Make a Film That I’m Not the Same Person Who Made the One Before”: Director Leos Carax on Holy Motors
“The social web can’t exist until you are your real self online,” said Sheryl Sandberg on Charlie Rose last year. “I have to be ‘me’, and you have to be ‘Charlie Rose,’” the Facebook COO told the talk show host. “It’s me” — that single line appearing late in Leos Carax’s Holy Motors unexpectedly devastated me at the film’s Cannes premiere, and perhaps its memory is what’s causing me to recall Sandberg’s statement, which is certainly in line with similar comments by her boss, Mark Zuckerberg. In an age in which online platforms offer the possibility for anyone to craft for themselves a variety […]
by Scott Macaulay on Oct 22, 2012 -
Alchemy at Emerging Visions
It’s been nearly two weeks since my participation in IFP’s Emerging Visions Program and now that the dust has settled, I can see clearly how valuable this experience was, not only in a practical sense, i.e., the nuts and bolts of filmmaking, but also in more intangible ways. I was lucky to have the opportunity to participate in the Emerging Narratives and the Emerging Visions Program, back to back, with my feature film script The Whispering Giant. Both IFP programs offer filmmakers a chance to pitch their projects in a “safe” environment, where they can be critiqued by an industry […]
by Kim Spurlock on Oct 18, 2012 -
Love on the Run: Wes Anderson on Moonrise Kingdom
Set in and around a children’s summer camp off the coast of New England in 1965, Wes Anderson’s captivating Moonrise Kingdom is a movie about two 12-year-olds, young lovers who escape the adult world of counselors, parents and social workers to find a few magical moments in the film’s eponymous beachside paradise. A movie about childhood, Moonrise Kingdom is also, more importantly, a movie that feels of childhood. With its evocatively off-scale production design, tempered adult performances and moments of playful abandon, Moonrise Kingdom is stuffed with feelings and visions that, no matter what your age, transport you through time […]
by Walter Donohue on Oct 17, 2012 -
Nicole Kidman: Hollywood’s Unlikely Rebel
While other A-List actresses have chased the kind of star vehicles that kill on opening weekend, Nicole Kidman has been quietly becoming Hollywood’s most unlikely rebel—a statuesque leading lady with a snowballing penchant for bold auteur partnerships. It’s hard to pinpoint when, exactly, the gal from Days of Thunder began her metamorphosis into the daring muse currently drawing viewers to The Paperboy (above), but many would likely cite Gus Van Sant’s To Die For as the pivotal work in Kidman’s filmography. The sheer unlikeability of the delusional, cradle-robbing viper Suzanne Stone screams of Tinseltown-bombshell repellant, but Kidman executed the role […]
by R. Kurt Osenlund on Oct 15, 2012 -
Committed to Film
Stereotypes exist for a reason. They exist because they’re usually true, or at least they stem from a truth. For example, when filming in the countryside on the Mediterranean island of Cyprus, a stereotypical image would be that of a herd of goats meandering through the set. Cliché? Unrealistic? Yet, this is exactly what happened every morning at 11am sharp while we shot a local feature film earlier this year. The sound man would roll his eyes in frustration, being the first to hear the clinking of their bells, the crew would move their gear out of the way and […]
by Stelana Kliris on Oct 15, 2012 -
Lady Vengeance: Sinister Review (Fantastic Fest 2012)
A mainstream production with a mainstream star, Sinister employs such horror movie tropes as a nice family moving into a new house with a past, the supernatural traveling through photographs and movies, and suspiciously troubled children. Yet despite its potentially cliché setup, the film feels unexpectedly fresh; a mash-up of ghost story, serial killer thriller, and Ringu-style photo-phobia that is more than the sum of its parts. The film is anchored by a story of believable domestic strain, and probes slightly deeper than many films in its exploration of the primal idea that images, like the film itself, represent a […]
by Farihah Zaman on Oct 12, 2012 -
The Toenail of the Curve: Remembering Harris Savides
In what is easily the most informative internet message board thread I’ve ever come across, “birth – Harris Savides,” which was started on Cinematography.com by a young man you may have heard of named Jody Lipes on November 1, 2004, the conversation turns around midway through to the aggressive underexposure used by Savides on Birth (pictured above). One of the forum’s members, who claimed to have worked on Birth, explained that Savides underexposed the film two stops, and then pulled it two additional stops, netting a total underexposure of four stops – which seems to have sent the head of […]
by Zachary Wigon on Oct 12, 2012
