This Day in Indie History:  Born Into Brothels

Zana Brinski and Ross Kauffman’s Born Into Brothels opened at New York City’s Film Forum on this day in 2004, garnering rave reviews nearly across the board. As the shining documentary star of the year, the movie won the 2004 Sundance Audience Award in the Documentary category, as well as the Oscar for Best Documentary Feature the following year. The movie follows Brinski’s success at teaching the art of photography to children of the district’s prostitutes.

Film Factoid: Brinski first went to Calcutta in 1997 with the intention of photographing the prostitutes of the Red Light district. While it was often difficult to gain permission to photograph of the women, she found willing participants in their children, who were often eager to pose for the camera, and later, master the craft.

December 8th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

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This Day in Indie History: Jeffrey Wright

Born on this day in 1965, Jeffrey Wright’s long list of characters ranges from a straight-laced attorney in Presumed Innocent to the tortured street artist Jean Michel Basquiat in Julian Schnabel’s biopic of the ’80s pop art icon. Wright’s awards have an equally expansive range, from Tony to Golden Globe to Emmy—all for his acclaimed turn as the gay nurse, Belize, in the stage and TV adaptations of Tony Kushner’s Angels in America. Having worked steadily in both film and theater since the early 1990s, Wright has established himself as one of the most talented—though sadly underappreciated—actors of his generation. His latest film roles include Syriana, The Manchurian Candidate and Casino Royale.

Quotable: “The white cracker who wrote the National Anthem knew what he was doing. He set the word ‘free’ to a note so high nobody could reach it. That was deliberate.” Jeffrey Wright as Belize in Angels in America.

December 7th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

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Festival Dispatch: Second Annual Dominican International Film Festival

Spa Patio Party

When you’re from the Northeast, there may not be a better way to spend four November days than to attend a film festival in the Caribbean. Last month I was fortunate enough to do just that when my fiancé and I flew the Sun Village Resort in Cofresi, Puerto Plata, Dominican Republic for the Second Annual Dominican International Film Festival.

The Second Annual DIFF did not disappoint. Warm beaches, an all-inclusive resort (with seven pools, five restaurants and a spa) and festival organizers who pay attention to the needs of independent moviemakers make for one can’t-miss events. A few of the cinematic highlights included L’Audition, written and directed by Canada’s Luc Picard, who was in town for the screening, as well as A Guide to Recognizing Your Saints, from Dito Montiel, who was also on hand. I also enjoyed Mora Stephens’ Conventioneers, and the programmers added a touch of class with Damian Pettigrew’s wonderful doc, Fellini: I’m a Born Liar. I could’ve done without tributes to the likes of Judge Rinehold and Anthony Anderson, but that’s getting picky… (Hope these pics let you enjoy a little vicarious warmth… watch for my full festival review in MM #68)

-Timothy E. Rhys
Editor in Chief, MovieMaker Magazine

All photos courtesy of the Dominican International Film Festival.

Opening Night Ceremony Crowd

Filmmaking in the Dominican Republic Panelists-Cesar Rodriguez, Arturo Rodriguez, Felix Manuel Lora, Ramses Cairo

Festival Director Ed Vincent

Festival Closing Night Party

Ed Vincent, Contribution to DR Filmmaking Award Winner Cesar Rodriguez, Derek Elliott

Dito Montiel Director of A Guide to Recognizing Your Saints

Anthony Anderson Winner of Dominican International Film Festival Rising Star Award

December 6th, 2006 | Category: Festival of the Week, Festival Dispatch | By Tim Rhys

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This Day in Indie History: An American in Paris

One of the most beloved musicals in movie history, An American in Paris resumed shooting in 1950, after a more than one-month hiatus. During that time star Gene Kelly trained for the Impressionist-inspired final ballet sequence, which remains one of the longest continuous dance sequences in Hollywood screen history. The story of a soldier who makes a home and falls in love in France after WWI, the film received six Academy Awards in 1952, including statues for Best Picture, Best Color Cinematography and Best Screenplay. It features songs by brothers George and Ira Gershwin, who, coincidentally, were also born on this day in 1896.

Film Factoid: This was 19-year-old Leslie Caron’s first film, after being discovered by Gene Kelly after he saw her perform a ballet in Paris. Originally, Cyd Charisse was meant to play the character of Lise, but when the actress found out she was pregnant, Caron was called in to replace her.

December 5th, 2006 | Category: This Day in Indie History | By MovieMaker Staff

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This Day in Indie History: Fritz Lang

World traveler, painter, soldier, actor—Fritz Lang was many things before he settled into his niche as a director and screenwriter. Born on this day in Vienna, Austria in 1890, Lang, along with director Robert Wiene of The Cabinet of Dr. Caligari fame, defined the German Expressionist movement with movies such as Dr. Mabuse, King of Crime, Metropolis and M.

Filmmaker Factoid: In 1933, Lang was offered a position as head of the German Cinema Institute under the auspices of the Nazi-controlled government. Holding staunch anti-Nazi sentiments, Lang declined, and the position instead fell to Leni Riefenstahl, whose Truimph of the Will to this day epitomizes the genre of propagandist documentary.

December 5th, 2006 | Category: News/Commentary | By MovieMaker Staff

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This Day in Indie History: Good Will Hunting

Gus Van Sant’s Good Will Hunting premiered in New York City on this day in 1997. Brainstormed and written by actors Ben Affleck and Matt Damon on numerous cross-country drives, the film brought both men into the Hollywood limelight. The script first gained attention from Rob Reiner’s production company, Castle Rock, before director Kevin Smith passed it along to Miramax. Though rumors still persist that screenwriter William Goldman doctored the Academy Award-winning script, Goldman denies any ties with the revision, saying that he would never write the “It’s not your fault” scene.

Film Factoid: In the shooting script, psychiatrist Sean Maguire (Robin Williams) relates this story about his wife: Every morning she would turn off the alarm clock while sleeping and thereby prevent him from getting to work on time. In production, Williams improvised the anecdote, the result of which is the memorable monologue about the wife’s tendency to fart indiscriminately while sleeping.

December 4th, 2006 | Category: News/Commentary | By MovieMaker Staff

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Catherine Hardwicke

Director Catherine Hardwicke and Stanley Townsend on the set of New Line Cinema’s The Nativity Story - 2006

Best known for the shocking adolescent drama Thirteen and the sex-and-drugs-laden skater flick Lords of Dogtown, one might wonder how Catherine Hardwicke ended up helming the upcoming The Nativity Story. But if you consider her knack for tapping into the inner lives of young adults, then it all makes sense. “I had seen the nativity story just as we all do—a few simple passages with minimal detail and almost no insight into who Mary or Joseph were as people,” notes Hardwicke. “But in Mike [Rich]’s script, I saw this opportunity to really get inside the heads, hearts and souls of this young couple.”While Christian audiences will surely flock to the film, which opened December 1st (just in time for the holidays), Hardwicke’s street cred as a daring voice in the indie moviemaking scene will hopefully also draw a more alternative crowd, curious to see the director’s take on the ancient story of the birth of Jesus. Though The Nativity Story is only Hardwicke’s third outing as a director, she is no stranger to the movie world, having worked as a production designer (among various other positions) on almost 20 films since the 1980s. With a Sundance Director’s Award as well as a handful of Independent Spirit nominations under her belt, Hardwicke seems poised to become one of the most respected women in moviemaking.

In issue #36 of MovieMaker’s Hands-On-Pages, Hardwicke said of her future projects, “I want to do things that are personal—where I can feel a personal connection to the story. That’s what I’m most interested in.” In personalizing one of the vaguest—and most essential—narratives of the Bible, it seems that Hardwicke has established herself as the humanizing voice of the adolescent world—and we have no doubt that she’ll continue her pattern of making thought-provoking, personal films for many years to come.

Shameless Plug: To read the full interview with Hardwicke in MovieMaker’s Hands-On-Pages, visit http://www.moviemaker.com/hop/editorial.php?id=130.
Sound Off: Is Hardwicke set to become one of the next great women moviemakers?  Is The Nativity Story proof that the director can bring realism to any genre of film? Talk back in the comments section of the blog!

December 3rd, 2006 | Category: Moviemaker of the Week | By MovieMaker Staff

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Nancy Meyers

Director/writer/producer Nancy Meyers on the set of Columbia Pictures’ The Holiday - 2006

It would be too easy to label Nancy Meyers as a writer of chick flicks. True, her movies are often light comedies and, yes, they typically feature and are geared toward women.  But if Meyers belongs to the chick flick camp at all, she should be recognized as a writer who breathed life into the genre with complex female characters and often sparkling wit. Meyers first gained attention with the Goldie Hawn comedy Private Benjamin, co-written with Harvey Miller and her then-husband Charles Shyer. The trio picked up an Oscar nomination as well as a WGA Award for the screenplay, and Meyers continued to collaborate with her husband on the scripts for such hit comedies as Shyer’s I Love Trouble and Father of the Bride (I and II). After a brief lag, Meyer reenergized her career by taking on the role of director as well, starting with the 1998 remake of The Parent Trap, but earning commercial and critical acclaim with 2003’s Something’s Gotta Give, which earned Diane Keaton her fourth Best Actress Oscar nomination and her second Golden Globe statue. Now, Meyers returns with The Holiday, which stars Jack Black, Cameron Diaz, Jude Law and Kate Winslet as a quartet of lonely singletons who meet cute during a cross-continental house swap.With an as-yet untitled project in the works for 2007, it seems that Meyer’s 20-plus year career shows no signs of slowing down—and why should it? Meyers has a knack for writing crowd-pleasing films that are fun without being vapid—and that’s a talent that’s all too rare nowadays.

Sound Off: What, in your opinion, is the last great romantic comedy? Is it possible to make a quality film in this genre without taking the quirky route (à la You and Me and Everyone We Know or Punch Drunk Love)? Let us know your stance in the comments section of the blog!

December 3rd, 2006 | Category: Screenwriter of the Week | By MovieMaker Staff

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Peripheral Produce PDX

Location: Portland, Oregon
Festival Dates: April 25 - 29, 2007
Early Deadline: December 15, 2006
Late Deadline: January 19, 2007 (late fee applies)

Peripheral Produce: It’s the kind of phrase that makes you think twice. The alliteration allows it to flow easily enough the first time around, but leads to a careful re-reading of each letter in each word. Now it’s time to figure out what this idiosyncratic phrase has to do with movies. Matt McCormick, the company’s founder and a moviemaker in his own right, likens his experimental distribution label to a farmers’ market, “except our produce is experimental cinema.” Take from that what you will, because individual interpretation is the engine that makes most experimental cinema run in the first place.

In 2001, the company began the first Portland Documentary and eXperimental Film Festival (PDX). What began as a type of guerilla showcase for local video artists (such as Naomi Uman and Miranda July)—where movies were screened in art galleries instead of theaters—is now including international moviemakers and looking to continue its unconventional venue choices. Bringing the movies out of the traditional setting “redefines the ideas of space and how cinema is to be experienced, and helps to discourage preconceptions,” McCormick explains. It also supplies a lot of fun.

This year screenings and workshops are only part of what festival-goers have to look forward to: As in previous years, PDX will embrace the intermarriage of film with other visual arts through an elaborate installation. Spectators will be able to move through an exhibit showcasing “loop-based film and video works that have a sculptural element to them,” taking festival attendees away from the traditional formula of screenings and discussion panels. With so many festivals relying on the standard structure and fare, look to Peripheral Produce for a fresh perspective on what a fest can be.

Visit www.peripheralproduce.com for more information.

Sound Off: What makes a festival truly experimental? Is it programming? Is it the venue?  Or is it simply an attitude? Weigh in in the comments section!

December 3rd, 2006 | Category: Festival of the Week | By MovieMaker Staff

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Arab Film Distribution

The 1990 Goodwill Games in Seattle, Washington saw the establishment of what is now a biennial tradition for the movie-friendly city: the Seattle Arab & Iranian Film Festival. That year, with only five movies under their belt, the producers of the festival began Arab Film Distribution. Now, with more than 300 available titles, it is the go-to source for films by or about the international Arab community.Arab Film Distribution represents the feature, documentary and short masterpieces of some of the Arab world’s most creative moviemakers. While the company has been around for 16 years, it seems more relevant today than ever before—providing the western world with a bit of insight into the commonly misunderstood Arab culture. With the company’s help it has now become easier for the everyday American to get his or her hands on otherwise barely accessible films being produced in countries ranging from Morocco and Libya to Yemen and Iraq.

If you’re looking for the 1963 Egyptian comedy Mother of the Bride, Arab Film is where you’ll find it. Wall, the 2005 Sundance Special Jury Prize winner about the Israeli-Palestinian conflict, is there too. Plus, don’t forget the classic The Battle of Algiers. So next time you’re desperate to fill your Netflix queue with something new and stimulating, why not explore Arab Film’s vast and varied collection. Visit http://www.arabfilm.com for more information.

Sound Off: What are some of your favorite Arab movies or moviemakers? Let us know in the comments section of the blog!

December 3rd, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 1

South Africa

Djimon Hounsou, Jennifer Connelly and Leonardo DiCaprio in Warner Bros. Blood Diamond - 2006

The nation of South Africa is a true jumble of cultures, to such a degree that it is said to have no single culture that defines it. In the post-apartheid world, the country is known as “The Rainbow Nation,” a nod to its cultural diversity. It’s no wonder, then, that almost 600 films have chosen to film in South Africa, many of them tackling the country’s turbulent political history, including Phillip Noyce’s recent Catch a Fire and Ed Zwick’s forthcoming Blood Diamond, which opens on December 8th.With climates ranging from desert to Mediterranean to tropical, South Africa offers a variety of backdrops, and makes an appearance in many recent African-set films, such as Hugh Hudson’s I Dreamed of Africa and Terry George’s harrowing Hotel Rwanda. With extensive support for moviemakers, South Africa is an ideal option for those wary of filming in a location with little or no resources for their crew. Among the resources available are funding for native moviemakers, co-production treaties with Canada, Germany and Italy and experienced crews well-versed in coping with everything from exotic animals to remote locales.

Other films that feature South Africa include:

Sarafina!
Malcolm X
Ali
Tsotsi
Duma
The Gods Must Be Crazy
White Squall
Lord of War

For more information on shooting in South Africa, visit www.filmmakersguide.co.za.

Sound Off: Ever shot, or are you planning to shoot in South Africa? Share your experiences in the comments section!

December 3rd, 2006 | Category: Location of the Week | By MovieMaker Staff

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