6560 Results for “production”
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TIM AND ERIC’S NEW VIRAL DYSTOPIAN GAME SHOW
Leave it to Adult Swim absurdists Tim Heidecker and Eric Wareheim to push the possibilities of viral video marketing to sick new extremes. The pair recently posted a demented new thirteen-minute advertisement for upcoming Xbox videogame Saint’s Row 3 to YouTube. The ad, which takes the form of a vaguely futuristic, dystopian game show, is hosted by a sadistic psychopath in a pink suit played by standup comic Greg Turkington. On the show, contestants (or are they prisoners?) compete in challenges such as “Replicate a Building Using Rotten Chicken” and “Eat Yourself”, all under the watchful gaze of Genki, a […]
by Jane Schoenbrun on Nov 9, 2011 -
CHRISTOPHER MUNCH, “LETTERS FROM THE BIG MAN”
American independent director Christopher Munch has been making movies now for over 30 years — longer if you count the award-winning short he directed for a PBS affiliate at age 15 about the San Diego Zoo — carving a niche for himself on the international festival circuit as a shape-shifting film artist with a highly idiosyncratic voice. In 1992, Munch won a Special Jury Prize at the Sundance Film Festival for his 57-minute black-and-white feature The Hours and Times, a talky, speculative film about an erotically charged weekend that John Lennon and his manager Brian Epstein purportedly spent in Barcelona […]
by Damon Smith on Nov 9, 2011 -
PORTENTS OF GREEK CRISIS IN IMAGES FROM THESSALONIKI DOC FEST
I’m covering the Thessaloniki International Film Festival for Filmmaker right now, and some images from the March documentary event seem prescient in the light of the hour-by-hour unfolding of events in Greece, where the fall of a government could affect all of Europe, the world economy, and by extension, filmmaking everywhere. Here are some of my photos. Thessaloniki is a palimpsest, a city written upon other cities, incarnation atop incarnation. The history of this far northern Greek city since first dredged from the sea by Alexander the Great has been one of fall and rise, of fire and […]
by Ray Pride on Nov 9, 2011 -
Reaction To The Canon C300 And Red Scarlet-X: Part One
The dust is still settling from the recent announcements from Canon and RED, and many of us are trying to figure out what it all means: is the Canon too expensive? The Scarlet too complicated? Will they have a big impact, or are these cameras outside the reach of most indie filmmakers? Ultimately, we won’t know their impact until these cameras start shipping in quantity, but I asked some DP/Editors to share their initial reactions to the cameras. Max Esposito is a DSLR shooter who is looking to upgrade from the Canon 5D Mark II, but says he doesn’t think […]
by Michael Murie on Nov 8, 2011 -
Director Jesse Baget on Cellmates
Jesse Baget’s Cellmates (originally titled White Knight) was one of my top picks at this year’s Arizona Underground Film Festival – and the biggest surprise of the fest simply because when I read the feature’s synopsis in the program my first thought was there’s no way this film would work. When one sees the phrase “buddy comedy” the names Tom Sizemore and Stacy Keach just don’t come to mind. Add in Héctor Jiménez of Nacho Libre and we might be getting closer…but still. Sizemore as a former Klansman meets Keach as a potato-obsessed warden meets Jiménez as an activist immigrant […]
by Lauren Wissot on Nov 7, 2011 -
CAMERA READY: FOUR CINEMATOGRAPHERS ON THEIR CRAFT
Originally published in our Spring 2008 issue, top flight DPs Andrij Parekh, Tim Orr, Sean Kirby and Ellen Kuras give candid insights on the formats they shoot on. Here Parekh (pictured above) talks about how shooting on video at times doesn’t speed up a shooting day: How will your format choice affect the physical production in terms of making it easier or, depending on your choice, more challenging? Are there budgetary ramifications? I find that shooting video actually takes more time, not less, than shooting on film. One has to be extremely particular regarding lighting. The main problem is that what […]
by Jason Guerrasio on Nov 6, 2011 -
On The RED Scarlet-X, Kickstarter And Camera Obsession
I’ve been meaning to post notice of the other big camera announcement this past week — RED’S unveiling of the SCARLET-X. Over at his No Film School, Koo has been all over this camera, writing that instead of the Scarlet being what we once thought the Scarlet would be (“a 3K for $3K camera), “It is very, very close to being the same camera as the $28,000 EPIC-X — it’s the same size and weight, has the same large sensor, takes the same accessories, and maxes out at the same 5K resolution — except the SCARLET-X starts at under $10K.” […]
by Scott Macaulay on Nov 6, 2011 -
HAWAII AWARD WINNERS AND A STANDOUT WORK
The Hawaii International Film Festival fittingly wrapped up its 31st edition last week with Alexander Payne’s Hawaii-set-and-shot comedy/drama The Descendants, with a gracious Payne in town for the screening (no George Clooney, alas, though a life-sized Clooney cardboard cut-out was certainly a massive hit in the lobby). “Wine always tastes the best in the region it was grown and made,” noted Payne to an appreciative audience. “I hope that this film plays best in Hawaii.” Judging from audience response, Payne got his wish; the film (to be released nationally November 15) won the festival’s Audience Award for Narrative Feature, with […]
by Jason Sanders on Nov 5, 2011 -
DOC NYC: Directors Nara Garber & Betsy Nagler on Flat Daddy
In the corpus of documentaries that have come out of the wars in Iraq and Afghanistan, we’ve seen a gradual progression from the outward to the inward — immersive forays into the battlefield giving way to subtler studies of the wartime psyche. Yet the majority of them have focused on the soldier’s experience of war. Flat Daddy, premiering at DOC NYC this Sunday at 4PM and screening again on Nov. 8th at 1:30, sets itself apart by focusing on the people who feel war perhaps the deepest: military families put on hold or torn apart by the absence of their […]
by Daniel James Scott on Nov 4, 2011 -
Data Will Be the Death of Us
The death of film, the evolution of technology, and the days of shrinking budgets have put into question the existence of the 2nd AC. Who needs someone to load and manage film when there is no film? Ironically, the position may be more critical than ever. Whether you’re a sole cameraman, or working on a large production, managing the data coming from the camera remains critical, and is becoming more difficult. Increasing resolution and higher data rates mean that more disk space and more time is being taken up wrangling the data. And if your capture media needs to be […]
by Michael Murie on Nov 4, 2011
