Documentary

TORONTO: NATIONAL INQUIRER: ERROL MORRIS AND “TABLOID”

I admit a certain obsession with cell phone Scrabble, the band Beach House, and of course, Errol Morris. While the first two are relatively recent acquisitions, that last one has been around for a while (since Cannes 2003 to be exact, and an interview on his film The Fog of War). Morris’ goofy sense of humor remains as addictive as his philosophical and cinematic wanderings. With his latest documentary, Tabloid, my obsession with Morris and his obsessions—in this case, an obsessive beauty queen and the reporters obsessed with her—has reached new heights. While you’re waiting with bated breath for Tabloid to […]
by Livia Bloom Ingram on Sep 16, 2010
D.A. PENNEBAKER & CHRIS HEGEDUS, “KINGS OF PASTRY”

D.A. Pennebaker is a legend in the world of documentary filmmaking. A pioneer in the art of cinema verite, he first made his mark with the 1967 classic Don’t Look Back, chronicling Bob Dylan’s final acoustic tour in the U.K. He met his partner (in directing and matrimony) Chris Hegedus in the 1970s, and they have co-directed nearly 30 films together since 1977, including the Oscar-nominated The War Room and the Sundance entry Startup.com. Their latest collaboration is Kings of Pastry, a whirlwind peek into the M.O.F. competition, a French pastry chef contest in which 16 of the world’s best […]
by Melissa Silvestri on Sep 15, 2010
PRODUCING ONE HUNDRED MORNINGS, PART ONE

I was one of the judges for this year’s Wookbook Project Discovery and Distribution Award, which grants one lucky film a week-long theatrical run in L.A. with social media, street team and PR support. That run begins this week, September 16, at the Downtown Independent Theater, and the film is Connor Horgan’s character-based post-apocalyptic drama, One Hundred Mornings. All this week we’ll have blog posts from producer Katie Holly and Horgan here at Filmmakermagazine.com. Below is Holly’s first post on the producing of the film. — Scott Macaulay One Hundred Mornings was made for a tenth of the budget that […]
by Scott Macaulay on Sep 15, 2010
HERZOG AND MORRIS TALK IN TORONTO

“It’s so strange we remain friends,” said Errol Morris at one point in his dialogue with fellow director Werner Herzog at the Toronto International Film Festival Monday. During their hour-long conversation at the new Bell Lightbox, the two men spoke of many things — filmmaking, of course, but also reading, music, the Warren Commission report, and actors vs. non-actors (Morris: “In my more spurious moments I’ve said that the main difference between SAG actors and real people is that real people can act”). But mostly they engaged in a kind of digressive contemplation inflected by occasional bouts of one-upmanship — […]
by Scott Macaulay on Sep 15, 2010
TORONTO INTERNATIONAL FILM FESTIVAL: WINDFALL

After reading a few small articles on wind energy in the Delaware County Times, the New York City-based video and commercials editor Laura Israel, who retreats to a 16’ by 16’ cabin outside the town of Meredith in said county, thought she might do something for the green movement and get a wind turbine—and not have to pay for electricity in the bargain. “I went on the internet and realized, ‘Wind energy is not what I thought.’ I was editing at a place where a guy was doing a tv segment on it as part of green. I told him […]
by Howard Feinstein on Sep 10, 2010
WHAT I’M LOOKING FORWARD TO IN TORONTO

Toronto, the IFP Filmmaker Conference hot on its heels, the New York Film Festival, and, for us, the close of our Fall issue — the season has begun. We’ve already begun work on the magazine, and I’m getting ready to go Toronto, where I’ll join Howard Feinstein and Livia Bloom contributing to the magazine and blog. Of course, the best part of any festival experience is the serendipitous discovery, the word-of-mouth gem you were tipped to or the film you randomly walked into that turned out to be great. I hope to be telling you about some of those over […]
by Scott Macaulay on Sep 9, 2010
FRANÇOIS OZON, “HIDEAWAY”

Ten years ago, François Ozon’s dark, Hitchcock-tinged melodrama See the Sea caught the attention of American film critics. The New York Times’ Janet Maslin marked him as “an impressive new filmmaker with a flair for implicit mayhem.” In the 12 features since then, Ozon has expressed his mayhem in various genres (musicals, fairy tales, magical realism, period romances, etc.), with different cinematic influences (Chabrol, Fassbinder, Renoir, Pasolini, etc.) and in a range of production scales. But central to all his films is a deep sense of the essentially conflicted nature of emotional relations, be it the comic sadomasochism of Water […]
by Peter Bowen on Sep 8, 2010
WHAT’S IN MY INSTAPAPER: SUNDAY MORNING LINKS

Here are a few articles, links and videos that caught my eye this week: The shape of documentaries to come may be revealed by Prison Valley, which won the second FRANCE24-Radio France International Web Documentary Award last week. From France 24’s article about the new media doc by David Dufresne and Philippe Brault: Created by David Dufresne and Philippe Brault, the striking multimedia production takes viewers to the heart of Canon City, “a distant place that is home to 36,000 souls and 13 prisons.” Produced by the French company Upian and distributed by Arte.tv, Prison Valley, is an interactive journey […]
by Scott Macaulay on Sep 5, 2010
SUNDANCE DOC CREATIVE PRODUCING LAB DIARY #2: RACHEL LIBERT

Here is part two of Rachel Libert’s diaries from the Sundance Labs. Read part one here. The busloads of people arriving at the Sundance Resort for the Creative Producing Summit signaled the end of the Creative Producing Lab. Twenty narrative producers, twenty documentary producers and dozens of high-level industry representatives are sequestered in the privacy of the Wasatch Mountains. We’re participating in an information marathon. We are a think tank in which our collective brainpower evaluates the industry and its future. For the Documentary Creative Producing Lab fellows there’s a palpable shift from our tight knit group discussions about the […]
by Scott Macaulay on Aug 28, 2010
SUNDANCE DOC FILM CREATIVE PRODUCING LAB DIARY: RACHEL LIBERT

Here is the first of two diaries from Rachel Libert, a producer and director who brought her project Semper Fi: Always Faithful to the Sundance Doc Film Creative Producing Lab. I’m on my way home from the Sundance Documentary Film Creative Producing Lab and Summit and struggling to describe the experience. Nearly four years ago I was researching a documentary film about a public health organization and, while the idea was intriguing, it was becoming increasingly obvious that it was an impossible film to make. Before I graciously made my exit from the project I went to lunch with the […]
by Scott Macaulay on Aug 27, 2010

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