In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Doug Buck, whose response arrived after we went to press on Robinson’s piece. Filmmaker: How did you support yourself during the production of your last movie/movies? Buck: The same way I have supported myself for the last 20 years — electrical engineering. I specialize in airfield lighting design […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Liza Johnson. I work as an art professor, teaching film and video at an undergraduate college. I’ve made a bunch of short films and video art exhibitions during the time I’ve taught there. In important structural ways, the job has been very supportive — you always get summer […]
ARTA DOBROSHI IN LUC AND JEAN-PIERRE DARDENNE’S LORNA’S SILENCE. COURTESY SONY PICTURES CLASSICS. From Auguste and Louis Lumière onwards, filmmaking partnerships with last names like Coen, Duplass, Hughes, Maysles, Polish, Quay, Wachowski, Taviani, Zellner and Zucker – just to name a few – have been proving that siblings and cinema go well together, and Jean-Pierre and Luc Dardenne are certainly no exceptions. The Belgian filmmakers, born in Liège in 1951 and 1954 respectively, have been making films as a duo since 1975, when they formed the production company Dérives. After a decade of making documentaries, they shifted to doc-style fiction […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Tze Chun. Filmmaker: How did you support yourself during the production of your last movie/movies? What was good/not good about this kind of job(s)? Chun: I didn’t go to grad school, but was committed to making films. So I opted to do a bunch of short-term work rather […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Sam Green. Filmmaker: How did you support yourself during the production of your last movie/movies? And what was good/not good about these jobs? Green: I’ve done a bunch of different things to support myself while making films. I started off doing freelance editing. I did some terrible outdoors/nature […]
There’s something to be said about not being eager to please. Chris Fuller’s Loren Cass is an aggressively confrontational debut, all the more so because it is so resolutely restrained in its approach. So seemingly oblique is Fuller’s approach that one feasibly could make it through the entire film and not realize that its subject matter is the aftermath of the 1996 St. Petersburg riots; but on the other hand, that subject matter is so deeply ingrained in the film’s form that it doesn’t matter. Loren Cass doesn’t so much deal with its themes as it ingests them, and then […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Natalia Almada. Filmmaker: How did you support yourself during the production of your last movie/movies? Almada: I was very lucky with El General because I was able to support myself with funding for the film for the most part of the production. It was only in the very […]
Here is producer Thomas Woodrow’s final post wrapping up his experience at this year’s Sundance Creative Producing Lab. When last we met, I was on my way to the Sundance Creative Producing Lab to answer a few pressing questions about my upcoming project, The Skeleton Twins, as well as creative producing in general. The Lab was an amazing experience, not only on the level of the exchange of information (which was a veritable fire hose) but also, and at least as importantly on the depth of the conversation in which we engaged together. It is one thing to swap war […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. In this blog series we’ll run the unedited responses we received that were then condensed for the piece. Below: Ross Kauffman. Filmmaker: How did you support yourself during the production of your last movie/movies? Kauffman: About 14 years ago, I took long term leases on a raw space, built apartments, and rented them. I supported myself by being a landlord. Filmmaker: What was good/not good about this […]
In “A Filmmaker’s Glamorous Life,” online and in our latest print edition, Esther Robinson surveyed a number of filmmakers about the jobs they’ve taken to support themselves when they are not making films. Over the next few days on the blog we’ll run the unedited responses we received that were then condensed for the piece. First up: Joe Swanberg. Filmmaker: How did you support yourself during the production of your last movie/movies? Swanberg: Now I’m able to support myself as a filmmaker, but during the making of my first two features I worked as a web designer, and I worked […]