Just a couple of days after I noted SAG’s response to the question of whether or not studios could acquire films made under their Guaranteed Completion Contracts, the guild has now decided to stop issuing these waivers to indie films entirely. Dave McNary reports in Variety: With a SAG strike becoming less likely, the Screen Actors Guild has announced it’s pulled the plug on offering waivers to indie film producers that would allow production to continue if there’s a work stoppage. SAG made the brief announcement Friday evening, suspending a program that’s covered over 800 productions in about a year. […]
Mike Plante wrote about the DVD release of Chameleon Street in our Load & Play section in 2007. The film will screen at this year’s Sundance Film Festival in its Sundance Collection section. In Chameleon Street, the enigmatic Doug Street goes through a series of cons, sometimes to make money, sometimes to prove he can do more than what the world expects of him. In short time he goes from a simple extortion plot to complex impersonations, including as a reporter from Time, a Yale student, a lawyer and even a surgeon. Yes, a surgeon – who performed 36 successful […]
Glenn McQuaid’s I Sell The Dead, starring Dominic Monaghan and Ron Perlman, will open Slamdance this year. Taglined “Never Trust a Corpse,” it’s a vintage-inspired horror-comedy set in the 18th or 19th-century, structured as a series of drunken recollections on the life of a career grave robber (Monaghan.) The film is produced by and co-stars horror-master Larry Fessenden (Wendigo, The Last Winter, Habit) of the New York production outfit Glass Eye Pix. The team behind ISTD – McQuaid, Fessenden and Scareflix producer Peter Phok — sat down with Filmmaker on the eve of their trip to Park City to reminisce […]
[PREMIERE SCREENING: Friday, Jan. 16, 12:00 pm — Screening Room, Sundance Resort] My story was shaped by the only force affecting cinema today that really counts: the financing aspect. I’m a Third World filmmaker with no private income, no friends in high places and no godfathers in the filmmaking world. The three notions that have guided me in this five-year journey, from Carmo’s conception through to being selected for Sundance, are: strategy, strategy and strategy.What choice did I have? So before I could even consider desired visual approach, casting possibilities, prospective budgeting levels, etc., I decided that my debut feature […]
[PREMIERE SCREENING: Friday, Jan. 16, 6:00 pm — Tower Theatre, Salt Lake City] A year of significance for China is 1989 — a significant year for many Chinese of my age. It is the year when the Tiananmen Square incident shook the world. In that same year, I concluded my four years of study at Beijing Film Academy and made my debut film Mama. The making of Mama ended up not only holding significant meaning for me but for Chinese cinema in the broader context. Prior to 1989, Chinese film rigidly followed the ways of the Soviet big brother — […]
[PREMIERE SCREENING: Friday, Jan. 16, 12:15 pm — Holiday Village Cinema IV, Park City] The idea for making The Glass House came organically when the director, Hamid Rahmanian, and I were invited to the Omid e Mehr Center in Tehran during a short visit to Iran (for what should have been a couple of weeks and turned into two years). At first we weren’t interested in covering a women’s crisis center in Iran — it had been done a few times already. Our biggest hesitation was the difficulty in penetrating the thick façade of pretenses that dominate Iranian culture; intimacy […]
Ted Hope gave the closing speech at the festival’s conference bringing together exhibitors and filmmakers. It’s long, and I’m packing and getting ready to head to the airport, so I don’t have time to read it carefully and post my thoughts, but I’ll try to in the next couple of days. For now, I’m linking to it and running the first three paragraphs here. Read it and post your thoughts. The beginning: In case you haven’t heard, our business is in the midst of a transformation from a limited supply gatekeeper entertainment economy based on impulse buys to a new […]
Michael Cieply had a provocative piece this morning in the New York Times’ Carpetbagger blog in which he wondered: An interesting question — and at this point, it’s only that — has been floating among the people who buy movie rights for big studios and their specialty divisions at festivals like Sundance, which begins on Thursday: Can they, or should they, buy films that were produced under waiver agreements with the Screen Actors Guild? Because these waiver agreements oblige filmmakers to adhere to the final terms of the SAG-AMPTP contract, and that contract has not been negotiated, the thinking goes […]
I tend to be a check-in, sit on my hotel or condo bed and go through the catalog kind of person. I don’t really plan my schedule way in advance. This year I’ve taken a longer look at the catalog than usual and jotted down a few thoughts on some films I want to see and a couple that we know a little bit more about. Consider these the equivalent of notebook scribblings and reminders-to-self — more coherent (and substantive) writing on many of these films will follow later. Dramatic Competition Amreeka: I saw the first 18 minutes of this […]
On this blog we’ve posted the line-ups of the various Sundance sections, but we forgot to include the shorts. So, to make up, Max Friend in the Filmmaker office has compiled this exhaustive post listing not only all the shorts but also hyperlinks taking you to info on the films, the filmmakers and sometimes the films themselves. Enjoy. U.S. Dramatic Shorts Abbie Cancelled (Directors: Dumb Bunny) — Two couples who have never met find themselves engaged in an awkward dinner after their mutual friends cancel at the last second. Acting for the Camera (Director: Justin Nowell; Screenwriter: Thomas Nowell) — […]