When Canada’s entertainment conglom Alliance Atlantis announced a few months ago that it would be shuttering its film production and sales divisions, independent filmmakers wondered where its Managing Director of Motion Picture Sales Charlotte Mickie would wind up. Throughout the ’90s, Mickie has been a reliable and accessible presence on the scene, picking up many noteworthy American indies and often propelling them to solid international sales. Among the many titles in her Alliance Atlantis catalog are Bowling for Columbine, The Station Agent, Welcome to the Dollhouse, and In the Company of Men. So, we were happy to hear yesterday that […]
Vincent Gallo fans — and perfectionist filmmakers with money to spare — must check out this eBay page in which Gallo sells the camera, lights and sound package used to create The Brown Bunny. (Being a fan, I hope this doesn’t herald a retreat from filmmaking for Gallo.) The package contains two Aaton 16mm cameras, Super Baltar lenses, the last Nagra 4 STC made by the company, and an Angeniuex zoom purchased from the Kubrick estate! Writes eBay seller nbvbn, who, by the way, has a seller rating of 76 with 100% positive results, “Vincent Gallo, the director of Buffalo […]
Holly Willis, Karol Martesko and I founded Filmmaker back in the fall of 1992 and for many years after that Holly served as our West Coast Editor before moving on to her current position as editor of the quite excellent Res magazine. We were trading e-mails recently, and Holly asked if we’d link this site to the European Graduate School, where she is working on her second Ph.D. When she wrote to me that the program was “ridiculously perfect — it brings together amazing philosophers with filmmakers for intensive three-week seminars in a tiny town in the mountains of Switzerland […]
Of course, with the Academy nominations come and gone, it may seem kind of pointless to hype an un-nominated performance. But given the nods to Naomi Watts and Benicio del Toro for their work in 21 Grams, I just wanted to mention my favorite performance in the film which I was surprised to see absent from the various year-end lists. I’m not talking about Melissa Leo, who has her supporters, but rather Charlotte Gainsbourg. Playing Penn’s wife — a Brit transplanted to Memphis who just wants a second chance at a child with Penn — Gainsbourg, in a quiet, unshowy […]
Sundance has awarded its annual Mark Silverman Producer’s Fellowship to L.A.-based producer Gina Kwon. Formerly a V.P. at Myriad Pictures, Kwon has worked with Academy Award-winning filmmaker R.J. Cutler on his TNT series The Residents and his Fox series American High. She’s most associated, though, with director Miguel Arteta and producer Matthew Greenfield, having production-managed Star Maps, associate produced Chuck and Buck, and co-produced The Good Girl. She is currently producing a Sundance Lab project, Miranda July’s Me and You and Everyone We Know, aiming for a Summer 2004 shoot. The fellowship, which is a tribute to the late producer […]
Following last year’s Rotterdam Film Festival, Simon Field, the fest’s illustrious director, announced that the 2004 edition would be his last. This year’s festival more than lived up to the high standard Field set when he joined Rotterdam eight years ago, and now Field has revealed his next endeavor. He’ll be joining the U.K. production company Illuminations, run by Keith Griffiths and John Wyver, and will be executive producing a series of music, architecture and film pieces commissioned by the City of Vienna on the occasion the Mozart anniversary in 2006. Theatre and opera director Peter Sellars will be artistic […]
One of the buzz films to emerge at this year’s Rotterdam Film Festival has been Teona Strugar Mitevska’s How I Killed a Saint. The 29-year-old director attended the MFA program at NYU’s Tisch School of the Arts, and on one level, her film could easily fit within the American indie “dysfunctional family” tradition. It tells the story of Viola, a young girl who returns home after travelling abroad for three years, having left behind a family secret and returning to tense relationships with her out-of-it parents and alienated, delinquent brother. Except in this case, Viola is returning in 2001 from […]
Upon hearing the awards news from Sundance this past Sunday in Rotterdam, most of the buyers and sales agents at the Cinemart all wanted to know one thing from me: “What the hell is Primer?” The small minority who caught the film in Utah, though, had a different question: “Why the hell did this film win the Sundance Grand Prize?” International film business types customarily feel somewhat lost and bewildered at Sundance, unable to figure out the shuttle bus routes or how to make it into the evening parties. But to be completely confused by what’s on screen? That’s a […]
I ran into producer Mary Jane Skalski at the Salt Lake City airport this morning on the way into Park City, and she — along with an e-mail from director Jem Cohen — gave me material for an embarassing first post out of Sundance. In our new issue of Filmmaker, Anthony Kaufman writes in his “New York Scene” column about directors who choose, for whatever reason, not to make the festival and premiere their films in other venues. He writes about Michael Kang, whose Motel was unable to be finished in time, and also Jem Cohen, who is currently completing […]
Every summer Filmmaker runs a feature entitled “25 New Faces of Independent Film” in which we try to apply our long-lead editorial approach to talent spotting. We identify promising new writers, directors and actors who are flying well below the industry radar, and several of our pics usually show up at Sundance each year. Here are Filmmaker‘s “25 New Faces” picks in this year’s festival. The advance industry buzz on The Clearing has been all over the map, but Justin Haythe’s screenplay was the best I read a couple of years ago. It’s a terse, emotionally rich drama about a […]