6580 Results for “production”
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“HIS & HERS” | director, Ken Wardrop
[PREMIERE SCREENING: Friday, Jan. 22, 3:00 pm — Holiday Village Cinema IV, Park City] I had many difficult decisions to make from the conceptual to the production stages of our documentary His & Hers. These decisions were primarily concerning our small budget of €100,000 and my choice to shoot on film. However I think the hardest decision of all was actually to make the film in the first place. In all honesty, the producer actually had to coax me into making it. Okay, I wasn’t exactly kicking and screaming but I definitely needed the push. You see, up until now […]
by Jason Guerrasio on Jan 22, 2010 -
“THE TUNNEL” | writer-director, Jenna Bass
[PREMIERE SCREENING: Friday, Jan. 22, 12:00 pm — Yarrow Hotel Theatre, Park City] Never a truer word. We had a scene — it was my favorite in the film. It was one of those scenes which didn’t necessarily drive the film on a plot level but was essential to the feel and the magic. Like everything, it was shot in a huge rush. When it came to the editing, we tried everything to make it work, but eventually we had to admit: It was bad. There was no way the scene was going to cut it. There was no way […]
by Jason Guerrasio on Jan 22, 2010 -
“DADDY LONGLEGS” | co-writers-directors, Benny Safdie & Josh Safdie
[PREMIERE SCREENING: Friday, Jan. 22, 8:30 am — Prospector Square Theatre, Park City] Jeesh, the amount of decisions that go into making a movie… the words “the amount” are so heavy because the list is heavy, breathing is a decision, but to quantify them seems like the scariest task with such a daunting overhead. Of course the best decisions are the ones that you don’t have to make but are forced into. During Daddy Longlegs, we were so preoccupied with constantly providing stimuli from the writing process all the way through editing: for ourselves, for the actors, the non-actors, the […]
by Jason Guerrasio on Jan 22, 2010 -
“MY PERESTROIKA’”S ROBIN HESSMAN | By Alicia Van Couvering
Robin Hessman’s My Perestroika is a documentary that shows modern-day Russia from the inside out. Five Russian adults reveal their personal histories through interviews and home movies, talking us through their childhood in school together during the die-hard communist Brezhnev years of the 1970s, through Gorbachev, the collapse of the USSR, and, finally, the coups, oligarchs and wealth transfers that are shaping Russia today. Borya and Lyuba, a married couple, teach history at School #57, which their teenage son also attends, and the film begins in their modest apartment, the same one Borya grew up in. Olga, the prettiest girl […]
by Scott Macaulay on Jan 21, 2010 -
NIGHT CATCHES US PRODUCER RON SIMONS BLOGS FROM SUNDANCE
When I was first approached to blog for Filmmaker, I thought: “I’m too new at this to say anything anyone would want to read.” It turns out that my naiveté and fresh perspective are the very things that Scott was looking for. So here goes… My name is Ron Simons (commonly misspelled Simon or Simmons), and I’m producer of the film Night Catches Us, which premieres in the Dramatic Competition at Sundance 2010. I am new to the field of indie films as a producer as this is my first film. What a trip so far! At every stage of […]
by Scott Macaulay on Jan 21, 2010 -
THOUGHTS ON THE NEW N.Y. STATE FILM TAX CREDIT REGS?
I’m trying to keep the blog Sundance/Park City/Slamdance-focused for the next ten days, but I want to take note of the new New York film tax incentive regulations proposed in Governor Patterson’s new budget. From Georg Szalai’s article in the Hollywood Reporter: New York film and TV industry executives on Tuesday lauded Gov. David Paterson’s budget proposal that includes $420 million per year in state money for the continuation of a 30% tax credit for productions in the Empire State through 2014. The governor’s 2010-11 budget proposal calls for spending cuts in various areas but for production incentives worth $420 […]
by Scott Macaulay on Jan 21, 2010 -
Script Supervising Goes Digital
When I started out script supervising almost 20 years ago, the tools of the trade were a stopwatch, a pen or pencil, paper, a Polaroid camera and that all important bible, the script. Each script supervisor had his or her own idiosyncratic system for “maintaining continuity” of a film or a TV show, but walk on any set and the basic tools were all the same. Maybe you typed up your notes at the end of the night on, yes, a typewriter; maybe you didn’t. Well the tools have now gone digital, thanks in large part to script supervisor Anthony […]
by Shari Carpenter on Jan 20, 2010 -
WHEN DOES PLAN B BECOME PLAN A? | By Anthony Kaufman
This is Anthony Kaufman’s Industry Beat column from our 2010 Winter issue. Old distribution models die hard. Everyone knows about the passing of that once-established indie film paradigm: Make a movie, show it at a festival, sell it to a distributor, get it booked in theaters, watch it find a home on DVD and cable — and then somewhere down the line, after all the release expenses are recovered, maybe even rake in a few bucks. And yet, when talking to filmmakers and sales reps heading into this year’s Sundance, it’s shocking how few are following new distribution strategies. Submarine […]
by Jason Guerrasio on Jan 19, 2010 -
BRADEN KING SENDS A POSTCARD FROM HERE
One independent film I’m especially looking forward to in 2010 is Braden King’s Here, shot in Armenia by Ballast‘s Lol Crawley and starring Ben Foster and Lubna Azabal. Braden’s film is ambitiously conceived, a story of a romance between a cartographer sent to map the Eastern European country and a local art photographer that will blend King’s striking images and moody drama with interstitial material by a number of great experimental filmmakers. Braden has launched a blog about the making of his film. Here’s an excerpt: It was an adventure. It was magnificent. It was terrible. It was hard. We […]
by Scott Macaulay on Jan 19, 2010 -
KENTUCKER AUDLEY DEBUTS SCENES FROM OPEN FIVE
I’ll post a bit later about all the stuff in the new Filmmaker magazine that’s not online. It’s a particularly good issue, I think, and one of the things which is print-only is Alicia Van Couvering’s look at five films that found their money and went into production in 2010. We decided to do a financing-oriented corrective to all the doom-and-gloom stories out there, and this one is full of practical tips for filmmakers looking to crowdsource and raise money through other unconventional means. One of the films she writes about is Kentucker Audley’s Open Five, which is our 25 […]
by Scott Macaulay on Jan 19, 2010
