When it came time to title his 2018 documentary about The Kronos Quartet, director Sam Green chose A Thousand Thoughts. Referring to an older Kronos composition, the title also spoke to the film’s approach, which was to use the music and biography of the Bay Area classical group to summon up a range of allusive meditations on ephemerality, culture, legacy and death. For his latest documentary, ostensibly about the much larger and more amorphous topic of “sound,” Green has gone in the numerically opposite direction. 32 Sounds, which opens today at New York’s Film Forum, announces itself as a sort […]
by Scott Macaulay on Apr 28, 2023“Heartbreaking,” “disappointed,” “crushing”—those are just some of the ways that filmmakers described the news that the 2022 Sundance Film Festival was going entirely virtual for a second year in a row. While lots of producers, directors, and sales agents were counting on in-person presentations to elevate their premieres in the buzzy environment of Park City, the shift to online-only was particularly stinging for filmmakers and sellers with artier, cinematic, or more challenging films that may get lost amid the Netflixification of the festival. “It’s a bummer,” admits Sam Green, director of opening night film 32 Sounds, which is described as […]
by Anthony Kaufman on Jan 11, 2022The Sundance Institute today announced the four filmmakers and six grantees who comprise the 2018 Art of Nonfiction program. Launched in 2018, Art of Nonfiction is the Institutes’s program “working at the vanguard of inventive artistic practice in story, craft and form.” This year’s Art of Nonfiction Fellows are Deborah Stratman, Natalia Almada, Sam Green and Sky Hopinka. Grantees are Jem Cohen, Kevin Jerome Everson, Kevin B. Lee and Chloé Galibert-Laîné, LaToya Ruby Frazier and Leilah Weinraub. “This year’s cohort reflects our continuing desire to explore the space in between,” said Tabitha Jackson, Director of the Documentary Film Program, in […]
by Scott Macaulay on Oct 23, 2018Oakland’s Grand Lake Theatre is a 1926 Art Deco show palace that first hosted vaudeville shows and silent movie screenings accompanied by the bass-note oscillations of a Wurlitzer Hope Jones Unit-Orchestra Pipe Organ. The classic venue is symbolic of its city, which made it the ideal spot for the Bay Area premiere of a the debut feature by another Oakland icon: activist, musician and now writer-director Boots Riley, who came of age as a moviegoer at the venue. “I saw Star Wars here,” he told an audience that packed the house during the recent San Francisco International Film Festival, where the […]
by Steve Dollar on May 1, 2018There’s a sequence early in A Thousand Thoughts, Sam Green and Joe Bini’s “live documentary” about the Bay Area musicians, the Kronos Quartet, that may seem familiar to anyone who has watched a music biopic. Scored to the ticking of a metronome, it’s a “rise to fame” montage of newspaper headlines, all taken from the years in which Kronos were becoming new music superstars. On top of each article, the bold-faced type indulges in the same wordplay, a riff on the Greek meaning of the group’s moniker: Kronos’s “time is now,” one headline reads; the group has hit “the big […]
by Scott Macaulay on Apr 23, 2018Kirsten Johnson was among the most in-demand documentary DPs even before her much-celebrated 2016 film Cameraperson. Johnson has shot more than 50 films for such directors as Laura Poitras, Alex Gibney and Kirby Dick. Her latest film, A Thousand Thoughts, is a doc on the Kronos Quartet from directors Sam Green and Joe Bini. The film will be presented at Sundance as a “live documentary” with Green narrating live and the Quartet conducting the score in person. Before its premiere, Johnson spoke with Filmmaker about finding innovative ways to film a concert and how a shot from Cameraperson wound up in A […]
by Filmmaker Staff on Jan 21, 2018What looks to be a stellar high-profile collaboration between two Filmmaker favorites is Brent Green and Sam Green: Love Cinema, running for four nights, December 7 – 10, as part of BAM’s Next Wave series. The two filmmakers aren’t related other than sharing a skill for charismatically fronting live performances blending their movies with live performance and narration. Brent first appeared in Filmmaker way back in 2005, when he led our 25 New Face list that year. We’ve assiduously covered his work since, as we have with Sam Green, whose works include the documentary, The Weather Underground, and then live […]
by Scott Macaulay on Nov 20, 2016The Wexner Center in Columbus, Ohio has announced its 2016-17 Wexner Center Artist Residency Award recipients in performing arts and film/video. The recipients are Faye Driscoll (Performing Arts), John Canemaker (Film/Video), Kevin Jerome Everson (Film/Video), and Sam Green and Kronos Quartet (Film/Video). Selected by the center’s curators and director to fulfill the center’s role as a creative research laboratory for artists, the residency awards provide significant sums of money (from $25,000 to $100,000) and space — along with technical, intellectual and professional support — to develop new works on-site. Kelly Reichardt was the recipient of last year’s residency award, which she used […]
by Paula Bernstein on Oct 3, 2016The biggest, the smallest, the most, the more-times-than-anyone-else — filmmaker Sam Green has revisited a common childhood fascination, The Guiness Book of World Records, for his latest “live documentary,” The Measure of All Things, receiving its New York premiere at The Kitchen this week. It’s Green’s third work combining film, music and his own on-stage narration — a hybrid film/theater form that’s proved surprisingly popular in performing arts venues around the world. Indeed, when so many filmmakers are trying to figure out a “new model” for their work, Green has turned himself into a touring artist, finding new, less jaded […]
by Scott Macaulay on Nov 20, 2014Thanks to The Seventh Art for flagging this haunting 2006 short documentary from Sam Green, a belated inquiry into the murder of Meredith Hunter at the 1969 Rolling Stones concert in Altamont. Green’s presentation of the bizarre silence surrounding Hunter’s identity at the time of his death is relayed through archival newspapers, footage from Gimme Shelter, and a tour of his unmarked gravesite in California (a proper headstone was purchased in 2008). Despite its brevity, Lot 63, Grave C is a fascinating look inside the metaphorical end of an era.
by Sarah Salovaara on Aug 6, 2014