This Day in Indie History: Luis Guzmán

Luis Guzman in Fox Searchlight’s Fast Food Nation - 2006

Popular character actor Luis Guzmán came into the world on this day in 1957. Born in Cayey, Puerto Rico, Guzmán soon moved with his family to New York City’s Lower East Side. It was only a short while after graduating from college that the Latino actor landed his first bit part in the 1977 film Short Eyes. In the years since, Guzmán has appeared in almost 100 films including Paul Thomas Anderson’s Boogie Nights, Magnolia and Punch Drunk Love. For his turn as Eduardo Roel in The Limey (one of several collaborations with Steven Soderbergh), the typically overlooked supporting actor was nominated for an Independent Spirit Award. Most recently, you’ll catch him in Richard Linklater’s Fast Food Nation.

Filmstar Factoid: When not on location, Guzmán lives in Vermont with his wife and five children. He is the owner of Wild Orchid Stables, which offers lessons in horseback riding.

December 31st, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Jon Voight

Sixty-eight years ago today, Jon Voight was born in Yonkers, NY. The casual moviegoer might know him as the father of Oscar winner Angelina Jolie (both on-screen—in Lara Croft: Tomb Raider—and off). But Voight had earned his stripes long before his daughter’s philanthropy made headlines. Since graduating from Washington, D.C.’s Catholic University in 1960, the actor has received three Academy Award nominations (for Midnight Cowboy, Runaway Train and Ali) and one win for his performance as a Vietnam Vet in 1978’s Coming Home. His portrayal as a naive male prostitute in the decade-defining Midnight Cowboy is arguably still his most memorable role. Catch him next in 2007’s Transformers.

Film Star Quotable: “Well, sir, I ain’t a for-real cowboy. But I am one helluva stud.” —Jon Voight as Joe Buck, Midnight Cowboy.

December 28th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Auguste and Louis Lumière

Early prodigies in the development of the moving picture, brothers Auguste and Louis Lumière introduced the first commercially profitable film screening at Paris’ Grand Cafe in 1895. Improving on Thomas Edison’s Peephole Kinetoscope, the pair developed the Cinematograph, a lightweight and hand-cranked camera that ran 16 frames per second. Early films showed slice of life moments of everyday people gardening, exiting trains and heading home from work. In 1903 narrative films arrived on scene with breakthroughs including Edwin S. Porter’s The Life of an American Fireman and The Great Train Robbery.

December 27th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Marlene Dietrich

Screen star Marlene Dietrich was born on this day in 1901. The German actress made her film debut in 1923, after a wrist injury derailed her promising future as a violinist. In 1930 Dietrich landed a role in The Blue Angel, Germany’s first talkie; later that year she moved to Hollywood and received her only Oscar nomination for Morocco, co-starring Gary Cooper. By 1936 Dietrich was the highest paid actress in the business. But her success was short-lived and she found herself in need of a comeback. Destry Rides Again (1939) paired her with James Stewart and got her a new contract at Universal. Her career continued until 1979 when she went into seclusion in France. Dietrich passed away from kidney failure in May of 1992.

Film Star Factoid: Dietrich’s sister was a Nazi sympathizer in Germany during WWII. The actress, meanwhile, was awarded a Medal of Freedom for her contributions to the United States’ war efforts.

December 27th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: 21 Grams

Alejandro González Iñárritu and Guillermo Arriaga saw their second feature film venture, 21 Grams, opened in theaters today in 2003. Much like their other collaborations, Amores Perros and Babel, the moviemakers built a tale of interwoven characters and storylines, using handheld cameras for most of the film to create a gritty, in-your-face appeal. Sean Penn, Naomi Watts and Benicio Del Toro star in the nonlinear tale of drug addiction, love and the weight of the human soul. Both Watts and Del Toro went on to Academy Award, SAG and BAFTA nominations, with all three actors winning prizes at the Venice Film Festival.

Moviemaker Quotable: “I think the target of every film that I do is to create a catharsis, an emotional movement. The response depends on the people who see it and which story and which theme or simple image will speak to them.” —Alejandro González Iñárritu (MovieMaker, Issue #66)

December 26th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: To Kill A Mockingbird

Harper Lee’s Pulitzer-Prize-winning novel, To Kill A Mockingbird, reached the big screen on this day in 1962. In both forms, the classic story remains a touching tale of a Depression-era Alabamian lawyer who fights to defend a poor black man accused of rape. The movie stars Gregory Peck, who won an Academy Award for his portrayal of lawyer Atticus Finch, and also featured Robert Duvall in his first movie role as the misunderstood “Boo” Radley. Recently the American Film Institute named Atticus Finch the number one screen hero of the last 100 years while the movie made it to number two on the Institute’s 100 Most Inspiring Movies of All Time.

Film Quotable: “You never really understand a person until you consider things from his point of view… Until you climb inside of his skin and walk around in It.” —Gregory Peck, as Atticus Finch.

December 25th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Flying Down to Rio

Ginger Rogers and Fred Astaire’s first of nine films together, Flying Down to Rio, was released in the United States on this day in 1933. The dancing duo had bit parts as an orchestra singer and accordion player, respectively. The romantic musical tells the tale of a bandleader (Gene Raymond, of Hitchcock’s Mr. and Mrs. Smith) who seduces a Brazilian woman (Dolores del Rio, of John Ford’s Cheyenne Autumn) by promising her a free trip home. Though Raymond and del Rio were the purported stars, Astaire and Rogers stole the film with charming banter and a show-stopping dance number atop seven revolving white pianos, which had been fused together to form a stage.

Film Factoid: Dolores Del Rio made waves in Flying Down to Rio by sporting the first two-piece women’s bathing suit ever seen onscreen.

December 21st, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: The Graduate

Mike Nichols’ cinematic zeitgeist, The Graduate, was released in theaters on this day in 1967. Interestingly, although her character was meant to be at least 20 years his senior, Anne Bancroft was only six years older than her co-star, Dustin Hoffman. A landmark film on many counts, it won the 1968 Best Director Oscar for Nichols and was nominated for six more. That same year it won five Golden Globes out of a total seven nominations.

Film Factoid: The leg of then-unknown model Linda Gray would grace the famous promotional still for the film, standing in for Anne Bancroft’s Mrs. Robinson. More than 30 years later, Gray would play Robinson in the 2001 stage production of the film in London’s West End.

December 20th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Roger and Me

Michael Moore’s Roger and Me opened in New York and Los Angeles on this day in 1989. The film went on to become the highest-grossing documentary in the United States, winning every award it was nominated for, including the People’s Choice Award at the Toronto International Film Festival and Best Documentary from the National Society of Film Critics. The documentary follows the progress Moore makes in attempting an interview with General Motors CEO Roger Smith. GM had closed its automotive plant in the moviemaker’s hometown of Flint, Michigan and left a town of desperation and more than 30,000 people without employment in its wake. The subject hit home for the novice documentarian, as both his father and grandfather had been autoworkers at this very plant.

Film Factoid: The outspoken liberal moviemaker funded this, his first film, by mortgaging his house and hosting Bingo nights for profit.

December 19th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Ralph Richardson

Ralph Richardson was born on this day in 1902. An Englishman, knighted in 1947 by King George VI, Richardson split his acting career between stage and screen—earning the highest honors for both. He was nominated twice for a Best Supporting Actor Oscar and six times for Best Supporting and Best British Actor at the BAFTA. Richardson was often drawn to Shakespeare, performing in productions (both live and on film) of Richard III, Twelfth Night and more with the Royal Shakespeare Company. The actor also starred in Anna Karenina, Doctor Zhivago and, most famously, alongside Katharine Hepburn in Sidney Lumet’s Long Day’s Journey Into Night.

Filmstar Factoid: Richardson had a special connection with the famous thespian Laurence Olivier. The highly regarded actor worked with Olivier in numerous productions at London’s Old Vic theatre. In 1955, Richardson would team up with the actor in Olivier’s film adaptation of Richard III, and in 1982 he would receive a lifetime achievement Laurence Olivier Theatre Special Award.

December 18th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

Women Make Movies

2007 marks the 35th anniversary of Women Make Movies (WMM), and, according to executive director Debra Zimmerman, WMM has a lot to celebrate. Projects that come out of WMM have won Oscars, Emmys and Peabodies. They represent 30 countries and over 400 artists. But most importantly, they represent the female presence in the film world. Along with three theatrical releases, nearly 10 nationally broadcast films this year and one Oscar hopeful, “we are assisting more women filmmakers and returning more money in royalties to filmmakers than we ever have,” boasts Zimmerman.

The organization credits its success to bringing to the forefront that perspective that is, according to Zimmerman, “missing from mainstream media—a woman’s perspective.” In particular, female moviemakers are looking to WMM for help in distribution—a key component of the group which, according to its Website, is the “leading distributor of women’s films and videotapes in North America.” With a collection of more than 500 titles, WMM exhibits the work of women moviemakers all over the country, in a variety of non-traditional venues from museums and colleges to prisons and hospitals.

“When people ask me ‘What about ‘Men Make Movies?’ I say it exists—it’s called Hollywood!” Zimmerman laughs. “WMM is one small organization among many that puts women first. If you look at the percentage of films by women in major festivals, on television or in the cinemas, it seems clear that there is still a tremendous need for WMM.”

For more information about Women Make Movies, including how to submit your film for distribution consideration, visit www.wmm.com.

SOUND OFF QUESTION: Do you think an organization like WMM is beneficial to the movie community? Should women be singled out as a minority in the industry? Talk back in the comments section of our blog!

December 18th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 1

The Foundation for Asian American Independent Media

In 1995, musicians Sooyoung Park and William Shin and music journalist Ben Kim saw a need to help their fellow Asian-American artists. Seeking to educate audiences about Asian American history and issues, as well as to promote cross-cultural understanding, they founded the Chicago-based Foundation for Asian American Independent Media (FAAIM) in the hope that such an organization would foster a better understanding of their sometimes pigeonholed artistic community.

Each year FAAIM supports its community by networking and using connections to further its members’ artistic endeavors. Passing around screenplays and getting the word out through street teams are not uncommon promotional tactics, and local Chicago colleges and universities often hold screenings with moviemakers in collaboration with FAAIM. With the founders’ strong musical background, their aid to moviemakers also often takes the form of helping with the score of a movie. Perhaps most significant, however, is the exposure artists get at the Chicago Asian American Showcase. Held the first weekend of April each year, the showcase brings together Asian American moviemakers from across the nation—and specifically the Midwest.

“Being based in the Midwest is very important to our showcase,” says Tim Hugh, FAAIM’s festival director. “Our communities are smaller and experiences are different than those of Asian Americans who might have grown up in the east or west coastal areas. Because of this fact, we feel that through our showcase, we can foster that understanding of what it’s like to grow up Asian in America.”

To keep up-to-date with FAAIM events or for more information, visit www.faaim.org.

SOUND OFF QUESTION: Culturally-based arts organizations often seek to express the collective life experience of a group of people-- should these organizations also seek to create a dialogue between their members and the “mainstream” world? Or is it enough to provide a space for artistic expression? Talk back in the comments section!

December 18th, 2006 | Category: Association of the Week | By MovieMaker Staff

No comments (yet!)

Indian Film Festival of Los Angeles

Location: Los Angeles, CA
Dates: April 17 - 22, 2007
Call For Entries Deadline: January 9, 2007

Creating a niche film festival is a fine art. First, you have to make sure you have both a pool of participants to choose from, as well as an audience interested in watching what they have to offer. It’s hard to get more specific than the Indian Film Festival of Los Angeles, a festival that exemplifies the success you can find when catering to a hyper-specific audience. The IFFLA was founded as a nonprofit organization in 2002 in order to showcase the work of the Indian film community in a city that is considered the heart of American moviemaking.

“Festival director Christina Marouda felt there was a need for such a festival given the size of the Indian film industry, the lack of Indian films in international film festivals in the United States, the size of the South Asian community in Los Angeles and a personal interest in India,” explains Felicia Dickerson, director of programming. Over the past five years, the festival has grown to a six-day event and also hosts an additional side festival, the IFFLA KidsFest, which showcases the work of young Indian-American moviemakers from the LA area. To celebrate the festival’s fifth anniversary, the 2007 program will include live music and dance performances as well as “a few extra surprises” (in Dickerson’s words) that will be revealed at a later date. As a celebration of both the Indian moviemaking community and the cinematic hub that is Los Angeles, the IFFLA has truly perfected the art of the niche festival. For more information or to submit your film, visit www.indianfilmfestival.org.

Sound Off: The 2006 IFFLA featured films by top Indian moviemakers, such as Deepa Mehta’s Water and Mira Nair’s Monsoon Wedding. Who are some of the lesser-known Indian moviemakers’ you’d like to see gain recognition in the U.S. film world? Talk back in the comments section!

December 18th, 2006 | Category: Festival of the Week | By MovieMaker Staff

No comments (yet!)

Hanif Kureishi

Director Roger Michell and writer Hanif Kureishi on the set of Sony Pictures Classics’ The Mother - 2004.

While he may have dabbled in other areas of moviemaking, Hanif Kureishi’s talent and passion clearly lies in the written word. The London-born screenwriter made a name for himself with Stephen Frears’ My Beautiful Laundrette, which earned him an Oscar nomination for Best Screenplay. After this first success, Kureishi continued crafting passionate indie dramas, most notably Udayan Prasad’s My Son the Fanatic and the upcoming Venus, which has already landed Kureishi a nomination for Best Screenplay at the British Independent Film Awards.

Venus, which tells the story of an unconventional relationship between an aging actor and a 19-year-old family friend, is already gaining buzz for the lead performance by Peter O’Toole (who may finally win that long elusive Oscar). In addition to his work as a screenwriter, Kureishi has also found success as a playwright, short story writer and novelist. His book, The Buddha of Suburbia, won the Whitbread Award for Best First Novel in 1990. Over the years, Kureishi has proven his ability to tackle a variety of topics adeptly, including immigration, national identity, sexuality and race. By interweaving these various elements, he has managed to consistently create powerful and complex characters, whether it be on stage, within the pages of a book or realized on screen.

For more information on Kureishi and his current projects, visit www.hanifkureishi.com.

Sound Off: Kureishi has made his name in the screenwriting world by writing unapologetically sexual characters and narratives, including his most recent film, Venus, which examines a May-December romance. Is it important for writers of independent films (like Kureishi and John Cameron Mitchell) to portray the subjects that are inherently censored in mainstream cinema? Talk back in the comments section!

December 18th, 2006 | Category: Screenwriter of the Week | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Betty Grable

Betty Grable was born on this day in 1916. Though the blonde actress was well known for her legs (insured by 20th Century Fox in 1943 for $1.25 million), her greatest accomplishment might be the honor of being the only female star to ever have a top 10 movie at the U.S. box office 10 years in a row. Her mother nudged her into Hollywood, and at the age of 13 Grable nabbed her first bit part, in the chorus line of Happy Days. Technically below the legal age for actresses at the time, she hid behind blackface make-up that was necessary for the production.

Filmstar Factoid: One year before making the film Pin Up Girl in 1944, Grable posed for provocative pin-ups of her own. The photos became wildly popular among men fighting in World War II and greatly contributed to Grable’s post-war career boom.

December 17th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Gone With the Wind

Starring Clark Gable and Vivien Leigh in arguably their most memorable performances, Victor Fleming’s Gone With the Wind premiered in Atlanta on this day in 1939. Nominated for 15 Academy Awards, the movie garnered nine statues, setting a record for its time and making it the first color film to pull in accolades in the Best Picture category. In another monumental milestone, Hattie McDaniel won the Best Supporting Actress Oscar, making the actress the first African-American to take home the award.

Filmstar Factoid: Although Judy Garland was considered for the part of Carreen O’Hara, her commitments laid first with another iconic Fleming film, The Wizard of Oz.

December 14th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Edward Scissorhands

After limited releases in New York and Los Angeles, Edward Scissorhands opened nationwide on this day in 1990. The tale of the gentle outcast who tried his hand at fitting in with the suburban world by living amongst them and pruning their hedges is said to have come easily to director Burton, who felt himself to be a misfit during his time at the cheery, cookie-cutter Disney Animation studios. This movie marked what would be the first of six collaborations between director Tim Burton and actor Johnny Depp. After pooling their imaginations for this Frankenstein-esque flick, the duo completed Ed Wood in 1994, Sleepy Hollow in 1999 and Charlie and the Chocolate Factory and Corpse Bride, both released in 2005. Next up, Depp stars in Burton’s adaptation of the Broadway hit Sweeney Todd.

Film Factoid: Master horror actor and Burton hero Vincent Price makes a cameo in the film as Edward’s creator.  This was Price’s last film before his death in 1993. Ironically, his final scene on film was the death of his character.

December 13th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Steve Buscemi

As each year goes by, Steve Buscemi racks up movie upon movie, with at least three credits a year for the past five years. The prolific moviemaker, born on this day in 1957, has acted in over 100 films since 1985, but perhaps is best known for his role as the talkative, “funny-lookin’” ex-con, Carl Showalter, in the Coen brothers’ Fargo. In 1996, his writing and directorial debut, Trees Lounge, was released and in 2001 he was nominated for an Emmy for his direction of an episode of “The Sopranos.” Audiences might also recognize his distinctive voice when watching the animated films Monsters, Inc., Home on the Range, Monster House and this month’s Charlotte’s Web.

Quotable: “I admire any director who makes his living solely from directing. I’m fortunate enough to earn a decent wage by occasionally playing psychopaths in other people’s movies, allowing me the luxury of not having to depend on the movies I direct to put food on the table.” (Steve Buscemi in MovieMaker Magazine, Issue #62)

December 13th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

This Day in Indie History: Edward G. Robinson

Born on this day in Bucharest, Romania in 1893, Edward G. Robinson began his life overseas but became an American idol soon enough. At the age of 10 he moved to the United States and by 22 was speaking fluent English and having his debut on Broadway.  Throughout his career he made over 90 films, including 14 from 1930 to 1932 alone. He was accused of treason and brought before the House Un-American Activities Committee in 1952. The affair hurt his career, but he soon bounced back, taking roles in The Ten Commandments, A Hole in the Head and The Cincinnati Kid. Robinson died of cancer in 1973, two months shy of receiving his honorary Oscar.

Filmstar Factoid: The name given to the famous actor at birth was Emanuel Goldenberg but when studying at the American Academy of Dramatic Arts, it was suggested he change it. The initials E.G. were a nod to his original name, but it is said he never remembered the reason for taking Robinson as his last name.

December 12th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

Daniel Burman

Burman and Daniel Hendler on the set of Family Law. Courtesy IFC First Take, 2006

As a moviemaking triple threat, screenwriter-producer-director Daniel Burman is finally getting his due. The Argentinean’s latest film, Family Law (out in limited release on December 26), has been put forth as his country’s 2007 Oscar contender for Best Foreign Film. Although it is an unparalleled honor, this isn’t the first time Burman is receiving high praise for his work. Two of his previous films, 1996’s A Chrysanthemum Burst in Cincoesquinas and 2004’s Lost Embrace, have received worldwide accolades—from Berlin to Park City.

Burman is considered by many to be a part of the New Argentine Cinema alongside such directors as Fabián Bielinsky and Alejandro Agresti. The Polish-Jewish Argentinean was brought up in the 1970s, in the El Once neighborhood of Buenos Aires, Argentina—a traditionally Jewish settlement within an otherwise strongly Christian culture. Both his feature and documentary work employ the common thread of this unique identity, often leading to comparisons with Woody Allen.

Using his diverse background and personal experiences, Burman’s success lies largely in his ability to delicately and comically weave tales of conflicted men—stories that resonate with audiences, no matter what their background—and his most recent endeavor is no different. Caught in-between the idealized roles of dutiful son and doting father, Burman’s protagonist, Ariel (played by long-time collaborator Daniel Hendler), finds himself unexpectedly examining his life choices, and reflecting on his own relationship with his father.  Throughout his career, Burman has demonstrated a rare ability to tap into the complexity of human relationships with both insight and humor, making him a welcome addition to the growing list of accomplished modern-day moviemakers around the world.

December 11th, 2006 | Category: Screenwriter of the Week | By MovieMaker Staff

No comments (yet!)

New York University’s Tisch School of the Arts

There’s no shortage of famous alums at New York University’s Tisch School of the Arts. Martin Scorsese, Amy Heckerling and Marc Forster are just a few of the school’s brightest stars, and Spike Lee still hangs around his alma mater, now in a professorial position. Sheril Antonio, associate dean of Film, Television and New Media, attributes these success stories to “democracy, collaboration and individuality.” She says that “Tisch offers its highly unique and sometimes irreverent students two seemingly conflicting things: A democratic education where each individual gets the same education and, in the spirit of collaboration, formulates his or her own visionary style of storytelling in the visual media.”

Founded in 1965, the Tisch School of the Arts has been continually growing to meet the needs of its student body and remain at the head of a large (and competitive) pack. Already considered one of the most prestigious film programs in the country, Tisch will branch out into the international film community this December with the unveiling of a new campus in Singapore, open to those students pursuing an MFA in Film Production.Remarking on the impact of film schools on the greater moviemaking world, Antonio says: “With the dwindling geography of ‘independent’ productions, schools have become the new frontier for experimentation and new ways of seeing and storytelling.” It is clear that Tisch is leading the way to this new frontier with both expertise and a willingness to change with the times.

For more information, visit www.tisch.nyu.edu.

Sound Off: With studios focusing big-budget movies that aim to conquer the box office, do you think Antonio is correct in saying that “film schools are the new frontier for filmic experimentation?” Talk back in the comments section!

December 11th, 2006 | Category: Film School of the Week | By MovieMaker Staff

No comments (yet!)

Budapest

credit: www.budapestinfo.hu

Budapest is a city bridging Eastern and Western European cultures: Elegant, yet not as overexposed as hot tourist spots like Paris or Prague. In addition to being Hungary’s capital city, Budapest also happens to be the epicenter of the Hungarian film community, whether you are a moviemaker looking to shoot your next project, or a movie lover seeking out the best of Hungarian indie cinema.

Budapest itself is the result of the merging of two separate cities, Buda and Pest, resting on opposite banks of the Danube River. Though it was partially destroyed by British and American air raids during World War II, the city still retains much of its beauty and history with landmarks such as the Matthias Church and the Royal Castle. On screen, the city has been captured in a wide range of films, from blockbuster flicks like Mortal Kombat to critically-acclaimed dramas like Steven Spielberg’s Munich and Hungarian director István Szabó’s Sunshine. Most recently, the city made an appearance in Agnieszka Holland’s Copying Beethoven, which opened in limited release on November 10.With a slew of indie and mainstream theaters gracing its streets as well as a thriving community of native moviemakers taking up residence, Budapest may be one of the underappreciated gems of the European film scene.You can catch Budapest gracing the frames of:
Evita
Cyrano de Bergerac
Spy Game
Underworld
Being Julia
Phantom of the Opera

For more information on shooting in or around Budapest, visit www.hungarianfilm.com

Sound Off: Several of Budapest’s most notable film productions center on the story of World War II and the Holocaust. How much does a city’s history impact the type of films made there? Should a city try to avoid being “typecast,” or welcome a reputation for playing backdrop to a certain genre or subject matter? Talk back in the comments section!

December 11th, 2006 | Category: Location of the Week | By MovieMaker Staff

Comments: 1

Writers Guild of America

Have you written a novel? A television pilot? A screenplay perhaps? Then you should probably be a member of the Writers Guild of America. Having a dispute with fellow writers over credits to your magnum opus? The Guild can help. Need assistance with copyrighting your property? They do that, too.

Since its inception in 1933 the WGA has provided a wide range of resources for writers, including access to facilities, legal support and networking opportunities.

But it’s not just the traditional narrative screenwriters the WGA serves to support and protect: As proof of its dedication to the art, the WGA’s latest expansion includes new divisions to distinctly recognize writers for animated television series (with plans to embrace animated feature film writers as well), cable documentaries (including reality TV) and video games and electronic media. “As new methods of content distribution provide increased creative and economic opportunities for writers, the WGAW [will continue] to work to ensure that our guild members… are not only compensated for the reuse of their work, but receive their fair share for new content they develop, no matter the genre or media,” the Writers Guild of America, West explains in a statement to MM. As the years progress, and the term “writer” grows ever-more complicated, the WGA is sure to be right there to help the future generation of writers, in all their many incarnations.

For more information visit their website.

Sound off: The Writers Guild of America has been expanding in an attempt to grow along with the term of “writer.” What type of writer should the Guild be including next? What do you think is the next frontier for writers? Talk back in the comments section of the blog!

December 11th, 2006 | Category: Association of the Week | By MovieMaker Staff

Comments: 3

Edward Zwick

Director Edward Zwick on the set of Warner Bros. Blood Diamond - 2006

Ed Zwick has a taste for the epic. The Chicago-born moviemaker graduated from the AFI Conservatory in 1975 and quickly made his name as a writer and producer of the hit 1980s sitcom, “thirtysomething.” In 1989, Zwick made waves in the moviemaking world with the award-winning Civil War drama Glory, which nabbed three statues at the 1990 Oscar ceremony. After this first big-screen coup, Zwick continued his stream of critical and commercial hits as a director (The Last Samurai), writer (The Siege) and producer (Shakespeare in Love).

Now, Zwick has turned his eye to high-minded international thrillers, with the release of Blood Diamond. The film, which opened in theaters on December 8th, tackles the tough subject of the Sierra Leone diamond trade and its various political, social and economic repercussions. But don’t think that Zwick is simply about cheap thrills; as he himself explains: “There is no reason why challenging themes and engaging stories have to be mutually exclusive—in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen. Obviously, a single piece of work can’t change the world, but what you try to do is add your voice to the chorus.”

Sound Off: When making a film about a social issue, do moviemakers have an obligation to make more than just a crowd-pleasing blockbuster? Is any topic fair game when it comes to making it big in the box office? Or should film be used as a medium to educate audiences? Has Zwick managed to merge these two goals with Blood Diamond? Talk back in the comments section!

December 11th, 2006 | Category: Moviemaker of the Week | By MovieMaker Staff

Comments: 1

This Day in Indie History: Paris, Texas

Wim Wenders’ Paris, Texas finished shooting on this day in 1983. Released the following year, Wenders’ tale of a man suffering from amnesia and attempting to reunite his family is perhaps the best known of the German moviemaker’s oeuvre. The movie stars Harry Dean Stanton as the amnesiac Travis and Nastassja Kinski, who also partnered with Wenders on 1975’s The Wrong Movement and 1993’s Faraway, So Close, as his wife. The film went on to win the 1985 BAFTA award for Best Direction and the 1984 Palme d’Or at the Cannes Film Festival.

Quotable: “When we wrote Paris, Texas together, I always assumed that Sam [Shepard] would play Travis in the end. But he steadfastly refused, with the argument that he knew the character too well as a writer and therefore couldn’t also play him. And then Harry Dean Stanton was so good that he eventually made me forget my initial desire.” - Wim Wenders, MovieMaker’s Hands-on-Pages, Issue #39 (Read the full interview here.)

December 10th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

No comments (yet!)

Page 1 of 2 pages  1 2 >

SITE DELIVERY OPTIONS

Home | Latest Headlines
Screenwriting | Producing | Directing | Acting | Cinematography | Editing | Distribution | Education | Festivals | Locations
Listings | Archives | HOP Interviews | Blogs | Forums | Contests | Subscriptions | Advertising

About | Site Map | Privacy Policy | Contact

© 2008 MovieMaker Magazine

Web site design by Hop Studios