Leading up to our 18th birthday, I’ll be revisiting on the blog one issue of Filmmaker a day. Today’s is Summer, 1993. Summer, 1993 is another issue whose content didn’t make it over to WordPress. Our cover story was Alison Maclean’s Crush. Sande Zeig interviewed Sally Potter about her Orlando, which was just reissued by Sony Pictures Classics. John Woo, John Greyson, and Ross McElwee were all in the book along with an article tracking the development status of several beloved cult novels’ film adaptations. We also ran a great how-to by Strand Releasing’s Marcus Hu on guerilla marketing your […]
When officials at the state-controlled Film Bureau levelled a five-year filmmaking ban on Chinese writer-director Lou Ye (Purple Butterfly) in 2006—a harsh reprimand for unveiling his politically charged drama Summer Palace at Cannes that year without their approval—he did what any determined artist would under the circumstances: he went home and made another feature, right under the nose of the censors. It was a brave and headstrong move, considering Lou’s previous encounters with the bureau. His debut feature, Weekend Lover (1995), was banned for two years, and Suzhou River (2000), a moody, Shanghai-set twist on Vertigo that won top honors […]
Leading up to our 18th birthday, I’ll be revisiting on the blog one issue of Filmmaker a day. Below is Winter, 1993. In our second issue of Filmmaker, attorney Robert Siegel interviewed Steven Starr, former head of the motion picture department at William Morris who left the agency to produce Tom DeCillo’s Johnny Suede (the first motion picture to star Brad Pitt) and direct his first feature, Joey Breaker. (Subsequently, Starr launched the web video site Revver and produced the documentary FLOW.) Peter Broderick interviewed Alex Cox, and I wrote the cover story on Abel Ferrara’s Bad Lieutenant, interviewing Ferrara, […]
As Filmmaker approaches its 18th birthday, I thought I’d fill the dog days of August with a series of posts taking you through our history. For the next few weeks I’ll be revisiting an issue a day, pointing towards significant pieces from our archive and commenting on interesting correspondences between independent film’s past and its present day. Of course I’ll start with our debut issue: Fall, 1992. Filmmaker was actually the spawn of two magazines, The Off-Hollywood Report and Montage. The OHR was the IFP’s publication, Montage was published by IFP/West (then IFP/Los Angeles and now Film Independent). The original […]
A young woman works at the shoe counter at a Pensacola, Florida bowling alley. Having abandoned the ambitions of her youth, she takes care of her ailing father, who painfully struggles with cancer. With the return of a rival from high school into her long-standing social circle, the stillness that has taken over her existence breaks, leaving her to consider the possibility of a new direction, one which seems tantalizingly close and yet ever elusive. This is subject matter than might seem too comfortably within American independent cinema’s wheelhouse, but in thoughtful hands, even the most seemingly pedestrian yarns can […]
The history of moviegoing in New York City is quintessential to the survival of the medium. Manhattan alone provided a healthy nexus of theatrical activity at the beginning of the 20th century, and in that regard, little has changed. The city continues to host dozens of theaters, including more arthouse venues than almost anywhere else in the world. From the usual specialty releases regularly showcased at the Sunshine and the Angelika to the storied repertory programming at prestigious fixtures like Film Forum and Lincoln Center, New Yorkers have innumerable eclectic opportunities to expand their cinematic horizons. But movies without distribution […]
For decades John Waters has been the filmmaker who has sprung to mind when one thinks about Baltimore and the movies. But with the release of his exquisitely directed, formally rigorous second feature, Putty Hill, Matt Porterfield adds his name to the city’s cinematic honor roll. “For me, Baltimore — the physical environment and its people — is a real source of inspiration,” he says. “It’s a diverse but stratified city, an amalgam of the North and South, divided along race, class, and socioeconomic lines. I hope my films can perform some kind of social function by bridging gaps and […]
For Arielle Javitch, whose first feature, Look, Stranger, is currently in post, moviemaking and movement have always been intertwined activities. She began her career as a dancer, and when a back injury sidelined her from performance, she began to make short dance films. “They started as pure movement, and then they began to get more narrative,” Javitch remembers. “One of my shorts was about refugees, and I used testimonies from different [refugee] stories, trying to make them visual through dance and other imagery. The film was beautiful, but it didn’t succeed, and then I knew I had to move into […]
Danfung Dennis, who is self-lensing his first directorial effort, says he had never handled a video camera before starting production. But for Dennis, who made his name as a photojournalist covering strife in China, Iraq and Afghanistan, the transition was an organic one. “The Canon 5D Mark 2 came out,” he remembers, “and it was very similar to the cameras I had been using. With just one button push I was shooting HD video.” Dennis, who had been shooting in Kabul for Newsweek, thought he might make a short Web video about the conflict there. But soon Dennis upsized his […]
“I started out as a child actor,” says Kasper Tuxen, the Danish d.p., who has in the space of a year become sought after by American independent directors looking for adventurous cinematic collaborators. “I was 13; I had a lead role in a Danish film, but from the first day of the shoot I was interested in cinematography.” When he got older Tuxen thought about becoming a rock musician but enrolled in the Danish Film School in Copenhagen instead. “It was a very technical education,” Tuxen says. “For four years it was all about film and exposure.” After film school, […]