6582 Results for “production”
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John Bailey A.S.C., on Shooting The Big Chill
John Bailey was a graduate film student at USC studying film criticism when he discovered a passion for cinematography while working on a school production. His first feature-length credit was for a 1972 horror movie Premonition, and since then he has accumulated a long and impressive list of credits, including such classics as: Groundhog Day, The Accidental Tourist, Swimming to Cambodia, Silverado, The Big Chill, and American Gigolo. More recently, he’s worked on projects as diverse as Divine Secrets of the Ya-Ya Sisterhood, Must Love Dogs, The Producers, and Country Strong. I first heard John speak at an event organized […]
by Michael Murie on Feb 3, 2012 -
Bad Fever — A Hammer to Nail Review
(Bad Fever opens in New York City at the reRun Gastropub beginning Friday, January 3, 2011. It world premiered at the 2011 SXSW Film Festival and is being distributed by Factory 25. Visit the film’s official website to learn more.) For those viewers with a deep-seated fondness for the character-based New Hollywood dramas that were churned out in the 1970s, Dustin Guy Defa’s Bad Fever will feel like a welcome return to that glorious past (I should know, as I am guilty of said deep-seated fondness). From the spare opening title card—complete with a copyright tag at the bottom!—to its […]
by Michael Tully on Feb 2, 2012 -
LARS KNUDSEN AND JAY VAN HOY SIGN DEVELOPMENT DEAL WITH K5
Lars Knudsen and Jay Van Hoy, the producing duo behind Gotham Award Best Picture winner and Oscar nominee Beginners, have signed an output and development deal with sales, finance, and production company K5 Media Group. The deal marks an alliance between two rising indie powerhouses. Knudsen and Van Hoy have been building their reputation for the past ten years. In 2004, they founded production company Parts & Labor and steadily accumulated a body of festival circuit sleeper hits including Kelly Reichardt’s Old Joy, Cam Archer’s Wild Tigers I Have Known, and Nik Fackler’s Lovely, Still. More recently, the duo produced […]
by Jane Schoenbrun on Feb 1, 2012 -
SXSW REVEALS FULL 2012 FEATURE FILM LINEUP
SXSW has announced their complete 2012 feature film slate. Over 90 films will screen across the festival’s ten categories, including the already announced opening night premiere of Joss Whedon’s Cabin in the Woods and a special preview screening of Lena Dunham’s new HBO series Girls. New additions include the sixteen films premiering in narrative and documentary competition. The eight films competing on the narrative side include Booster, directed by Matt Ruskin, Eden, directed by Megan Griffiths, Gayby, directed by Jonathan Lisecki, Gimme the Loot, directed by Adam Leon, Los Chidos, directed by Omar Rodriguez Lopez, Pilgrim Song, directed by Martha […]
by Jane Schoenbrun on Feb 1, 2012 -
The Microbudget Conversation: The Success Of Failure
Well after a great holiday, and another Sundance, we are back for a new season of the conversation. This year we’re going to try and expand the definition of micro and see it as more of a state of mind and community, as oppose to a budget. I’m looking to hear from more filmmakers, see how they are expanding the limitations of technology, and see how the new model is effecting the old. We are also working on a project you’ll be hearing more about as the months roll on. Our hopes is that it will be some of the […]
by John Yost on Jan 31, 2012 -
NAVIGATING OUR ROTTERDAM PREMIERE
February is going to be a busy month. We are getting ready to premiere two new films simultaneously, one at Rotterdam the other in Berlin. The first, The Patron Saints, is a hyperrealistic portrait of a nursing home and its inhabitants, and will have its international premiere at the International Film Festival Rotterdam (IFFR). The second, our narrative feature Francine, a film about a recently released prison inmate with a complicated affinity for animals (played by Melissa Leo), heads to the Berlin Film Festival for its world premiere in the festival’s Forum Section. Preparing for festivals is a lot of […]
by Brian M. Cassidy and Melanie Shatzky on Jan 31, 2012 -
Sundance 2012: Trophies And Laurels
Sundance announced their award winners on Saturday night and, as usual, the festival’s mission of inclusivity was in full bloom; over 25 films were handed a prize from the podium, which is great for everyone involved. There is no harm in recognizing great work, and the more Sundance laurels on trailers and posters going forward, the better for all, but given the festival’s reliance on very specific categories and competitions (World Dramatic, World Documentary, U.S. Dramatic, U.S. Documentary, Next, Midnight, Spotlight, New Frontiers and Shorts), several great films went unrecognized. I am not sure if the festival’s programming categories are […]
by Tom Hall on Jan 29, 2012 -
TONEELGROEP AMSTERDAM STAGES “CRIES AND WHISPERS” AND “DISGRACE”
One of my biggest complaints about Broadway theater is the lack of artistic risk. (Indeed, one could make the case that Julie Taymor’s cursed production of Spider-Man: Turn Off the Dark had the media riveted more by its performers’ injuries than by its Hollywood blockbuster budget. The safe Great White Way had become dangerous again!) Which is why it’s been like a breath of fresh air to take in several English-surtitled productions from Toneelgroep Amsterdam (headquartered a very easy hour’s train ride away from the International Film Festival Rotterdam), where in lieu of bodily harm to actors there’s a couple […]
by Lauren Wissot on Jan 28, 2012 -
Lady Vengeance: Interview with Sundance Filmmaker Eve Sussman
Although Sundance is predominantly known for indie dramas and social issue documentaries, the New Frontiers section provides a loving home for particularly odd ducks. Unlike many projects in New Frontiers, which are presented as installations or other new media formats, Eve Sussman’s whiteonwhite:algorithmicnoir was screened in a conventional theater. However, the film’s text, 300 bits of voiceover, 150 pieces of music, and 3,000 images are live-edited by an algorithmic computer dubbed the Serendipity Machine that creates a randomized sequence, meaning each screening is entirely unique. Not only does Sussman’s piece turn the idea of the mystery genre on its ear, […]
by Farihah Zaman on Jan 27, 2012 -
A YEAR WITHOUT RENT IN PARK CITY: “OK, GOOD” AND “HEAVY GIRLS”
One of the trickier things about reviewing movies at a festival is that your identity isn’t exactly a secret. You’ve got a press pass with your name and the name of your outlet on it, so a lot of conversations you have with filmmakers revolve around that very fact. Or you end up in a long conversation at the Kickstarter party with the director of a film you hated. But my philosophy is if you can’t stand face-to-face with someone and defend your opinion of their work, then you have no business telling it to anyone else. Comments and critiques […]
by Lucas McNelly on Jan 27, 2012
