What fear — whether it’s personal, or one related to the development, financing, production or distribution of your film — did you have to confront and conquer in the making of your movie? Ten Thousand Saints is a period film set primarily in New York’s East Village in 1988. Unfortunately for us, that neighborhood today is nearly unrecognizable from the one we sought to dramatize. As New Yorkers, it was important to us that the movie looked authentic, despite our limited, indie film budget. What kept us up at night was figuring out a way to represent a world of tent cities, […]
by Filmmaker Staff on Jan 29, 2015At last night’s Stranger Than Fiction, a weekly documentary series at the IFC, host Thom Powers paid tribute to underground comic icon Harvey Pekar, who died in July of this year, by screening American Splendor, the dramatization of Pekar’s celebrated autobiographical comic series about his life as a file clerk. A comics fanatic who became friends with the writer while working in the underground comic scene, Powers described discovering Pekar’s work as “a truly transformative experience.” Powers almost did not attend a screening of the film at Sundance in 2003, terrified it would do something horrible to something “so precious.” […]
by Mary Anderson Casavant on Oct 6, 2010In its 12th year the Sarasota Film Festival has established itself as an important regional festival stop. Wedged between SXSW and Tribeca, Sarasota’s 10-day event is filled with festival circuit favorites, access to industry folk for the area filmmakers and lots of parties. [Full disclosure: I’m on the jury for the Independent Visions award this year.] Kicking off last night with Shari Springer Berman and Robert Pulcini‘s The Extra Man, the film stars Kevin Klein and Paul Dano as unlikely roommates living in Manhattan, one an aging playboy (Klein) the other a dreamer trying to find his place in life […]
by Jason Guerrasio on Apr 10, 2010[PREMIERE SCREENING: Monday, Jan. 25, 9:30 pm — Eccles Theatre, Park City] Long before the cameras rolled on The Extra Man, we faced a decision of Sophie’s Choice proportions: whether or not to sign off on an impossible production schedule or pull out of the movie completely. We had expected to make the film on an incredibly challenging 30-day shoot. However when everything was budgeted out, we were left with only 27 shoot days, a rather extreme difference. When our a.d. nervously handed us this document, there were many days that were literally unmakeable. No matter how quickly we moved, […]
by Jason Guerrasio on Jan 25, 2010