6580 Results for “production”
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AM I A FILMMAKER OR A BRAND? CAGE MATCH PANEL REPORT
On the last day of Independent Film Week, I asked myself: Self, am I a filmmaker or a brand? Quickly realizing what a thorny Mobius strip of a question that was, I conveniently hied myself over to the panel entitled … Am I a Filmmaker or a Brand?, being moderated by writer/director/Hammer to Nail blogger Michael Tully (Cocaine Angel, Silver Jew), in what was billed as a “Cage Match” between Michelle Satter, director of the Sundance Institute, and Jon Reiss, filmmaker/author of the marketing and branding tome “Think Outside the Box Office.” Thanks to a conveniently timed Facebook post, I […]
by Marc Maurino on Sep 30, 2010 -
MANAGING AND AGENTING YOUR CAREER AT INDEPENDENT FILM WEEK
Here’s another report from a part of Independent Film Week that I’ve written a little about, but which is actually a huge—or at least, half—of IFW—the conference. I previously described the Project Forum situation, but get this—when we were out of our meetings, we had the opportunity to walk outside and around the block to an auditorium where every hour, on the hour, assembled experts, case studies, and assorted panels were weighing on various subjects. If you’re an aspiring filmmaker and don’t have a project in Project Forum, it would still be extraordinarily worthwhile to get a week pass just […]
by Marc Maurino on Sep 28, 2010 -
Into the Splice: Machete
It was only later that I discovered that I had been charged admission to Machete as a “student.” I am not one, and haven’t been for many, many years. I was glad not only because it saved me two dollars, but also because I didn’t have to resort to the Harvey Korman moment near the end of Blazing Saddles, when he cuts in line to buy a ticket for the film itself, pulls out an I.D., holds it up with a skeptical smile and asks the ticket lady, “Student?” to which she replies flatly, “Are you kidding?” At 9:30 on […]
by Nicholas Rombes on Sep 28, 2010 -
IFP DAY 5, AND THOUGHTS ON THE BUSINESS…
So if you’re reading this, it means Filmmaker Magazine hasn’t cut off my access to blog at this site yet, and I’m here with another report. Independent Film Week has officially ended as I write this, but it’s a testament to IFP and the power of being part of the Emerging Narrative/Project Forum that it feels as if so much new has started—new connections, new possibilities, new friends, new outlook on the indie film world, and a new sense of my own work. When I last checked in, I described the setup of the Project Forum meetings, which lasted through […]
by Marc Maurino on Sep 26, 2010 -
ONE WEEK OUT: “THE TESTED” GOES TO WOODSTOCK
The Woodstock Film Festival is about a week away, and I’m just now beginning to catch my breath. Maybe because I’m finally about to bring a copy of my film The Tested to FedEx to send it off. Yes, we’re that film. The one that is killing itself to get ready in time for the festival. All-nighters have been pulled, my immune system has taken a beating, and I’ve over-stayed my welcome at not 1 but 2 post houses, but this all seems fitting for a film that’s had such a long journey to it’s premiere. In fact, to say […]
by Russell costanzo on Sep 24, 2010 -
NEW VS. OLD AT INDEPENDENT FILM WEEK
IFP invited a number of us to blog our experiences at Independent Film Week, and we were supposed to contribute three posts. But with a whirlwind of meetings, events, and networking opportunities to try to take advantage of, I haven’t had much time to sleep, much less time to blog. So here’s my one post wrapping up our experiences pitching our transmedia project 3rd Rail (pictured) during Independent Film Week, which will have to do in lieu of three progress reports. For a great general description of the Project Forum and how it is configured, see Marc Maurino’s post. Marc […]
by Koo on Sep 23, 2010 -
NEW YORK FILM FESTIVAL
Like a bitch-slap to those who have accused it of excessive reverence for French fare over the past 48 years, the 2010 New York Film Festival is bookended and centered on American movies—oddly enough, all from the big studios. David Fincher‘s The Social Network (pictured above) opens the event September 24; Clint Eastwood’s Hereafter is the October 10 Closing Night selection; and Julie Taymor’s The Tempest, the Centerpiece. I’ve seen none of them, but early reviews of The Social Network have been very positive, not surprising from the director of Se7en and Fight Club. Evaluations of Hereafter have been much […]
by Howard Feinstein on Sep 23, 2010 -
Things That Seem Real, Part 3 : Catfish And Fakery
Editor’s Note: Part one of this essay, “Things That Seem Real: A Three-Part Essay on Catfish and Other Movies,” appeared Tuesday on the site and can be read here. Part Two appeared yesterday and can be read here. These essays contain major spoilers regarding the film Catfish. Catfish and Fakery. Catfish has some major truth-problems. Major. Like, plot holes big enough to drive a truck through. The stirrings of suspicion began instantly after its Sundance 2010 premiere. On January 30th, reporting from Sundance, Indiewire’s Bryce Renninger wrote that “Over the week since its premiere, though, many critics and audience members […]
by Zachary Wigon on Sep 23, 2010 -
INDEPENDENT FILM WEEK UPDATE
Hello again, Marc here reporting from three days of meetings. It’s been an exciting whirl, and in hopes that some future IFP Emerging Narrative participant might read this (or just the IFP-curious at home), I think I’ll share a bit of what my last three days have been like. As aforementioned, prior to arrival, we received a schedule of meetings, all of which were scheduled between 9 AM and noon in the Emerging Narrative part of the Project Forum space, which is a huge room bisected; one side has a lounge-type area with chairs, wifi, helpful IFP staffers, and lots […]
by Marc Maurino on Sep 22, 2010 -
Rob Epstein And Jeffrey Friedman, Howl
How do you make a narrative film about a long, difficult poem? Jean Cocteau’s legendary Blood of the Poet gives it a go I suppose, but its style departs from the conventions of narrative very early on for something more willfully avant-garde. Poetry just doesn’t lend itself to shot reverse shot and one hundred and eighty degree director’s lines. This clearly difficult task didn’t daunt veteran documentarians Rob Epstein and Jeffrey Friedman, however; they took up the challenge as they made the jump to narrative in Howl, a thoughtful meditation on the early life and seminal work of Allen Ginsberg. […]
by Brandon Harris on Sep 22, 2010
