Summer 2015
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Man Down: Ira Sachs Interviews Writer/Director Oren Moverman about Time Out of Mind
The following interview was originally published in Filmmaker‘s Summer, 2015 issue. It is appearing online today for the first time. Time Out of Mind opens today via IFC Films. Alongside his biggest professional success as a screenwriter — he co-wrote Bill Pohlad’s hit Brian Wilson biopic, Love & Mercy — Oren Moverman returns to theaters this summer as a director with an equally striking yet very different film. Time Out of Mind, which premiered last fall at the Toronto International Film Festival, joins Moverman’s previous features — The Messenger and Rampart — in its politically aware depiction of compromised masculinity, […]
by Ira Sachs on Sep 9, 2015 -
Stealing Thunder: How to Fight Piracy While Remaining Cool
If you’re like most young-ish filmmakers, you grew up and matured in an open source world of Napster, YouTube and BitTorrent. Whether it was making mixtapes for your college girlfriend, or ripping CDs and DVDs with your film school pals, “appropriating media” might have been a way of life for you to consume and share your favorite songs, films and TV. You scoffed at FBI warnings on VHS tapes and mocked MPAA PSAs. You’ve mashed up, mixed up and just plain stolen your way through the early 21st century with nary a tinge of regret. Hell, we’re living in an […]
by Dan Mirvish on Jul 24, 2015 -
Load and Play: Killers, Wage Slaves and Varda in the Sun
Agnès Varda in California Several directors of or related to the French New Wave flirted with Hollywood, from those who actually completed studio pictures (François Truffaut, Jacques Demy) to those whose efforts crashed and burned (most famously Jean-Luc Godard, whose proposed gangster picture with Robert De Niro and Diane Keaton remains one of the most tantalizing unmade films of all time). None of them managed to turn their detours in Los Angeles into as singular a cycle of films as Agnès Varda, whose two periods in the city (in the late ’60s and early ’80s) yielded five highly personal works […]
by Filmmaker Staff on Jul 23, 2015 -
Learning from Experience
Digital cameras have made it possible for more first-time documentary directors than ever to realize their visions, but there aren’t yet enough experienced producers ready to help those directors translate their talents into viable careers. “If you’re a director with an ambitious vision, you’re going to need help,” producer Amanda Branson Gill says. “In the narrative world, there are huge, built-in teams of people to support you. In documentary, we have this idea of the lone wolf. But you’re going to need a good partner, someone with whom you share the burden and who makes it possible.” A creative producer […]
by Chris Boeckmann on Jul 23, 2015 -
Streaming for Dollars
Since the advent of YouTube and Vimeo, filmmakers have rolled the dice, releasing their shorts online for free in the hopes that their work will court the right set of eyeballs. Nowadays, even at banner institutions like The New York Times and The New Yorker, more and more curated short-form distribution opportunities are cropping up online that hint toward visibility and prestige for the films, along with, sometimes, financial returns for the filmmakers. Last December, The New Yorker introduced “The Screening Room,” a streaming platform where they rolled out three shorts acquired at the 2014 Sundance Film Festival: Person to […]
by Sarah Salovaara on Jul 23, 2015 -
Editor’s Letter
“Call me crazy, but I don’t think distribution is the greatest problem facing independent cinema right now,” wrote producer Mike Ryan in these pages back in 2010. In an opinion piece titled “Straight Talk,” Ryan railed against what he saw as an overemphasis in our community on business plans and online marketing at the expense of innovative filmmaking. “Developing content and nurturing auteurs should be our top concern, not figuring out distribution models or revenue schemes,” he continued. “The whole purpose of independent film is to make films that aren’t pre-fabricated to hit a target audience of someone else’s devising. […]
by Scott Macaulay on Jul 23, 2015 -
Parting Shot
Kentucky-born Michael Shannon has been appearing regularly in television, independent film and studio pictures since the mid-’90s, but it was his Oscar-nominated turn as a bracingly honest, if perhaps mentally unstable, mathematician in Sam Mendes’s Revolutionary Road that made directors see him as a potential leading man. In the years since, Shannon has fulfilled that promise, most notably as another unbalanced seer in Jeff Nichols’s Take Shelter. But it’s in the next 12 months that Shannon will truly explode onscreen in a succession of notable lead and supporting parts. First up is his turn in theaters as a rapacious repo […]
by Scott Macaulay on Jul 23, 2015 -
Picture Lock
As the pioneering Wexner Center for the Arts celebrates the 25th anniversary of its Film/Video Studio Program, we invited curator Jennifer Lange to pen this guest essay on the program’s history and upcoming retrospective. When Spalding Gray called the Wexner Center for the Arts “the spaceship that crash-landed on the prairies,” he was referring to the building itself, an icon of deconstructivist architecture designed by Peter Eisenman. As radical and unconventional as the building may have seemed at the time, the plans for what would take place inside its labyrinthine walls make Grey’s characterization all the more fitting, even prescient. […]
by Jennifer Lange on Jul 23, 2015 -
TV is Not the New Film
As much as I love Breaking Bad, The Wire, Mad Men and Twin Peaks, as great and as groundbreaking as those shows were, they still are not cinema. The recent explosion of quality long-form cable series has taken the TV form to a new level of artistry and craftsmanship. A show like Mad Men is not only thrilling because of its commentary on its era, but because of the zeitgeist energy created by everyone watching the show, talking about it and sharing opinions on social media. Today, perhaps more than ever, a new season of a quality show becomes a […]
by Mike S. Ryan on Jul 23, 2015 -
Dispatches from Cannes and the Los Angeles Film Festival
Cannes by Aaron Hillis The same way New Yorkers love to bitch about living in what they also proclaim to be the world’s greatest city, the Cannes-accredited can spend nearly two weeks in the south of France watching nothing but prestigiously vetted films and have the nerve to call it a “so-so year.” But if that was a too-common sigh, it’s partly because the festival’s main competition had few unanimous hits, which is neither unusual nor taking stock of the parallel pleasures within the Un Certain Regard, Directors’ Fortnight and Critics’ Week sections, or out-of-competition premieres of innovative multiplex fare […]
by Filmmaker Staff on Jul 23, 2015
