While researching and writing the science fiction screenplay that would become his ingenious debut feature, The Artifice Girl, Franklin Ritch studied the dialogue and body language found in police interrogation tapes. “Detectives have a rhythm to their questioning,” the Jacksonville, Florida–based filmmaker says. “It was especially intriguing to watch these tapes without knowing the context of the crime. It became clear that in order to keep the audience engaged through the heavy exposition of [The Artifice Girl‘s] first act, each page of the script needed to alternate between revealing a secret and setting up a new enticing mystery.” The dialogue […]
by Vadim Rizov on Oct 11, 2022Orphan Black screenwriter Tony Elliott makes his feature debut with the time-twisting dystopian thriller ARQ, premiering today at the Toronto International Film Festival. Employing the now venerable time-loop trope, ARQ features a couple trying to figure out why their world is repeating, and what that has to do with the giant multi-national they were both involved with. Below, Elliott talks about his various cinematic inspirations, what he learned from writing Orphan Black, and how he made a futuristic science fiction film on a very low budget. Filmmaker: Your short film, Entangled, dealt, in part, with quantum physics. Tell me about […]
by Scott Macaulay on Sep 9, 2016A Filmmaker cover in Winter 2014 for one of our favorite and underrated films of the last few years, Enemy, Denis Villeneuve has become that rare powerhouse director who inflects a cinematically exciting signature style across diverse material. Currently shooting the sequel to Blade Runner, the director follows up his moody drug-war drama Sicario with a science-fiction tale of alien visitation. Most excitingly for us at Filmmaker, this most visually compelling of directors has hooked up with one of our favorite DPs, Bradford Young, who appeared on our 25 New Faces list back in 2009. For now, check out the […]
by Scott Macaulay on Aug 16, 2016Author Daniel H. Wilson, whose Roboapocalypse has been in the works for some time from Steven Spielberg, has the first adaptation of one his stories receive its online premiere today over at Wired. Embedded here, The Nostalgist is the adaptation of Wilson’s first published work of fiction, and it’s described thusly: In the futuristic city of Vanille, with properly tuned ImmerSyst Eyes & Ears the world can look and sound like a paradise. But the life of a father and his young son threatens to disintegrate when the father’s device begins to fail. Desperate to avoid facing his traumatic reality, […]
by Scott Macaulay on May 3, 2016Screening in the Tribeca Film Festival’s Tribeca N.O.W. section (as in, “new online work”) is Gregory Bayne and Christian Lybrook’s Zero Point, a 45-minute independently-produced pilot for what the two Idaho-based creators hope will be full-on television series. Director, producer and screenwriter Bayne is well known to Filmmaker readers by virtue of his various documentaries (Jens Pulver Driven, Bloodsworth) and opinion pieces, and he’s been at the DIY distribution forefront long before it was in vogue. So, perhaps its appropriate, then, that he and producer and screenwriter Lybrook are now early adopters of a new indie model: rather than make […]
by Scott Macaulay on Apr 25, 2015One of the most brilliantly out-there shorts of recent years, Jillian Mayer and Lucas Leyva’s Life and Freaky Times of Uncle Luke has finally made it online, and you’d be a fool not to check it out. It’s the film that put the pair on the map when it played at the festival circuit in 2012, and then later justified their inclusion our “25 New Faces” list last year. Calling the film “both very smart and gleefully nuts,” this is what Scott wrote on Life and Freaky Times of Uncle Luke in his profile of Mayer and Leyva for the […]
by Nick Dawson on May 29, 2013It’s been five years since Ari Folman came out with the Academy Award-nominated Waltz with Bashir, an animated personal combat story. He’s back with an incredibly ambitious project, The Congress, that blends real life with fantasy in an adaptation of Stanislaw Lem’s celebrated book. The movie opens with actress Robin Wright being scolded by her agent, played by Harvey Keitel, for all the poor choices she’s made throughout her career. Faced with a sick child and no job prospects, she meets with Jeff, the studio head of Miramount, a daunting figure played impeccably by Danny Huston. Jeff is sick of […]
by Ariston Anderson on May 28, 2013Like the offspring of any revered icon, Brandon Cronenberg’s last name grabs hold of your attention. Indeed, the 33-year-old Canadian filmmaker is the son of David Cronenberg, genre cinema’s great auteur of psychodrama and body horror. And like his father, Brandon expresses a strong interest in the inextricable brain-body link, not to mention the dark crevices of society’s underbelly. Antiviral, Brandon’s feature debut as writer and director, is a sci-fi satire with a sharp conceit worthy of that unmistakable surname, and a stylistic strength that promises more compelling work from its maker. Uniquely skewering our ever-evolving (or devolving) obsessions with […]
by R. Kurt Osenlund on Apr 12, 2013Microbudget film doesn’t venture into the expensive world of science fiction too often, and certainly not the brand that features hordes of orcs and other fantasy creatures. But that’s exactly where Emmy-winning director Kohl Glass, whose short film Der Ostwind played at Sundance in 2007, wanted to go with his debut feature, Orc Wars. The film, which has wrapped and is currently gathering its finishing funds on Kickstarter, features ex-Marine John Norton (Rusty Joiner) who buys an isolated western ranch that turns out to contain a portal to another world; when orcs use it to threaten an elf princess (Masiela Lusha) […]
by Randy Astle on Mar 15, 2013At the beginning of the year, Filmmaker’s Scott Macaulay pointed out again — like many others have as well — that features are no longer the default format-of-choice for indie filmmakers. And as forms like the web series mature, we’re seeing more of the kinks getting worked out and more filmmakers and others finding innovative ways to release and promote new work. Take Netflix’s high-profile series House of Cards, which was just released all at once instead of in spaced-out (i.e. weekly) increments; we’ve yet to see the show’s long tail, but its initial viewer data (that is, its engagement […]
by Randy Astle on Feb 14, 2013