Spring 2018
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A Sense of Place: The Job of the Location Manager
The following article appeared in Filmmaker’s Spring, 2018 print issue. Like many departments on a film set, the locations department has duties that are a mixture of artistic and practical, a blend of orchestrating creative epiphanies and managing tedious logistics. Location managers might jaunt off to explore tropical beaches or spend the day sharing their favorite secret enclave of New York with an esteemed director, but they also might toil for weeks figuring out where the crew will park, eat and go to the bathroom. And if you’ve ever worked on a low-budget movie without the cash for a fancy […]
by Matt Mulcahey on Jul 17, 2018 -
Page View: Daniella Shreir on the Debut Issue of Feminist Film Journal Another Gaze
Feminist film journal Another Gaze heads to New York this week for two events surrounding the issue launch of their debut print edition. On Saturday at the Renee and Chaim Gross Foundation there will be a free day of discussions and panels, and, on Thursday at Union Docs a screening of shorts in which women filmmakers reframe onscreen sexual violence. From our own print issue, here’s our interview with editor Daniella Shreir about her decision to add an analog component to her already impressive web publication. “I didn’t want it to look too essentialist or zine-y,” says London-born writer, editor […]
by Scott Macaulay on Apr 16, 2018 -
Cash Back: How Film Tax Incentives Work
Let’s assume you got into filmmaking because you wanted nothing to do with business school. Well, tough. Movies are the most expensive art form; even ones they call “no-budget” aren’t. You need to learn about business eventually, and in today’s world, even independent filmmakers need to understand terms like “transferable rebates,” “soft money” and “100 percent deductibility.” In fact, there’s one financing term both Hollywood and independent producers must know: “tax credits.” The studio world is continually on the lookout for states offering production rebates that will reduce the cost of their movies and TV shows, while independent producers scout […]
by Matt Prigge on Mar 8, 2018 -
The Explosions Within: Lynne Ramsay on You Were Never Really Here
Joe uses a hammer. A tough guy for hire — one who specializes in cases involving pedophilia and child trafficking — Joe owns a gun, of course, and he uses that, too. But for the jobs that truly matter, ones triggering the dark memories that clank painfully around inside his brain, he prefers the brutal simplicity of a simple hammer that can fell an adversary with one silent, well-timed swoop. Arrestingly embodied by Joaquin Phoenix in Scottish director Lynne Ramsay’s fleet, impressionistic work of hardcore noir, You Were Never Really Here, winner of the Best Screenplay prize at last year’s […]
by Scott Macaulay on Mar 8, 2018 -
Was 2018 the Year of the Woman at the Sundance Film Festival?
After the Sundance Film Festival’s awards ceremony, when female directors swept all the top categories, the response was ecstatic. “Women dominated Sundance,” cried the headlines. Social media blew up with congratulatory hashtags #womeninfilm and #femalefilmmakerfriday. “It felt like a revolutionary moment,” says Celine Rattray, who produced Sara Colangelo’s directing-award winner The Kindergarten Teacher. At the festival’s opening press conference, Robert Redford’s most memorable line was: “The role of men right now is to listen.” But did the film industry hear that? More than two weeks after Sundance concluded, five of the festival’s female-led jury winners had still not closed distribution […]
by Anthony Kaufman on Mar 8, 2018 -
Leslie Harris’s Return Ticket
“I was looking at old issues of Filmmaker,” says Leslie Harris — director of the 1993 indie drama Just Another Girl on the I.R.T. “There was Quentin, Robert Rodriguez, Nick Gomez, and then Matty Rich and John Singleton. And Juice was just coming out. It was a real male-dominated arena. My impetus was to see a black woman on screen, someone who wasn’t a wife or a girlfriend. Someone who had her own dreams — a strong, confident black woman’s voice.” That voice was Chantel’s — “precocious as hell, sharp as a tack,” wrote Beth Coleman, who interviewed Harris for […]
by Scott Macaulay on Mar 8, 2018 -
Continuing Education
When I boarded a plane for Buffalo, N.Y., in 1981 to attend grad school at SUNY/Buffalo, my parents were shocked. I had just graduated from Queens College/CUNY with an undergraduate degree in biology and was destined for medical school. What my parents didn’t know was that I had become fascinated with experimental film — in particular, the work of Paul Sharits, who taught at the university’s Center for Media Studies (CMS). I was offered a graduate teaching position at CMS and bought a plane ticket to Buffalo, where I intended to spend one or two years, at most. Eight years […]
by Steve Gallagher on Mar 8, 2018 -
Paris By Night: Making a Nathan Silver American Independent Film in Paris
Foreign productions shooting in France have two options to obtain tax rebates. One is to officially become a French production, which requires a co-production treaty and going through the French Ministry of Culture’s CNC agency. For Nathan Silver’s Thirst Street, that wasn’t a practical option: the United States is one of the few countries to have no co-production treaty with France. (The United States has no coproduction treaties with any country, in fact, but that’s another story.) According to Thirst co-writer/producer C. Mason Wells, the production had to go the more common Tax Rebate for International Productions (TRIP) route. The […]
by Vadim Rizov on Mar 8, 2018 -
Short Film Confessions Redux
Thirteen years ago, I wrote an article for Filmmaker: “Confessions of a Short Film Programmer.” In my introduction, I hinted at the most brutal clichés filmmakers should avoid (uncleared movie posters on the walls, a protagonist drinking from a Jack Daniel’s bottle, revealing a character to be a mime), but I didn’t want to completely wallow in the negative. After all, as a programmer of short films at Sundance, I’m fortunate to have such a cool job, even if it also happens to be the only job I’m capable of doing professionally. Since the publication of that article, the world […]
by Mike Plante on Mar 8, 2018 -
The Art of (Not) Compromising: DP Sean Porter on When and How to Hold Your Ground
For those of you following along, I had intended to continue my interview series on parenting — and had some cool interviews with people like Rachel Morrison (before she was nominated, OK?) — but Filmmaker, with its abundance of (truly) great interview features, politely requested I stay with my format, so you’re stuck with yours truly. Now, where was I? Oh yeah. Speaking of compromises! That’s yet another topic I’d love to hear other DPs talk about, but they don’t. So, instead, one of my favorite pastimes is getting my DITs to tell their stories. (Hint: they have good stories.) […]
by Sean Porter on Mar 8, 2018
