Susan Minot

She may have only written two screenplays, but Susan Minot is an experienced writer, with six popular books to her name. The first, Monkeys, received the Prix Femina Etranger in France in 1987 and established her writing abilities early on. From there came fans that included Bernardo Bertolucci, who personally invited her to develop a script based on his own story. The result: 1994â€(tm)s Stealing Beauty. Now in cooperation with fellow novelist/screenwriter Michael Cunningham (The Hours), Minot presents her audience with another aspect of family dynamics in Evening, out from Focus Features on June 29.

Making use of some of cinemaâ€(tm)s living lady legends, Evening depicts Ann Grant (played in two time periods by Claire Danes and Vanessa Redgrave), a dying older woman, reliving the memorable moments of her lifeâ€"particularly one Maine vacation when attending her friendâ€(tm)s wedding. “In the 1950s, Ann Grant has her moment,” explains director Lajos Koltai. “Itâ€(tm)s something that she keeps with her always, though her perspective on it has changed over the course of her life and changes for good during the course of the story, as it applies to her daughters.”

Like many of Minot’s stories, Evening takes note of the special relationships between women and the strong roles they play in each otherâ€(tm)s life. Thankfully for many, this translated on screen as well. “The casting process on Evening was the most exciting experience of my career,” gushes producer Jeff Sharp. “There were a number of wonderful roles, especially for actresses, but all the parts had been scripted with great detail and love.”

Drawing in talent like Meryl Streep, Glenn Close, Toni Collette and Natasha Richardson, Evening is one more momentous notch on this New Englanderâ€(tm)s belt.

Read more about Minot and her Evening cast and crew at www.focusfeatures.com/evening.

SOUND OFF: Eveningâ€(tm)s list of accomplished actresses and actors is long. What is the best ensemble of actresses and/or actors seen on screen thus far in cinema history?

June 17th, 2007 | Category: Screenwriter of the Week | By MovieMaker Staff

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Wolf Creek

On this day in 2004, Australian director George McLean began shooting Wolf Creek. He wrote the film (which he also produced), inspired by the infamous exploits of the Backpack Killer in the 1990s. The film debuted in Australia at number one before performing impressively in the UK and U.S. as well.
Quentin Tarantino and Robert Rodriguez were two notable supporters of the film, but the critical reception was polarized. Many objected to the graphic scenes of sadistic torture while others commended their effectiveness. Reaching U.S. theaters around the same time as the Tarantino-presented and similarly themed Hostel, Wolf Creek heralded the arrival of a new type of horror film inspired by the works of Japanese thrillmaster Takashi Miike.

Factoid: Takashi Miike makes a cameo as a patron at the torture chamber in Eli Roth’s Hostel.

June 14th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Steve Broidy

Steve Broidy was born on this day in 1905 in Malden, Massachusetts. Broidy worked in sales for an independent production company before stretches at Universal Studios and Warner Bros. studios. In 1933 he joined Monogram, a production company best known for pumping out B movies, and rose through the ranks until he was named president in 1945. In an attempt to create a new image for the company, Broidy presided over the transformation of Monogram into Allied Artists. The new label’s intention was to deliver more prestigious pictures with bigger budgets, but Allied Artists soon reverted to the type of tripe for which its preceding company was known. Broidy held the position of president until 1965, when he left to produce movies independently. His solo projects include The Fox, 80 Steps to Jonah and The Poseidon Adventure.

Factoid: Broidy was a celebrated philanthropist and Founding Life Chairman at Cedar-Sinai Hospital in Los Angeles.

June 13th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Charles Burnett/Killer of Sheep at IFC Center

In celebration of Charles Burnett’s classic Killer of Sheep’s 12th and final week in New York City (where it has become the city’s highest-grossing—and best reviewed—indie film this year, Milestone Film & Video and the IFC Center will feature Charles Burnett in person on Monday, June 18th to present the evening screenings and answer questions afterwards. In addition, a rare restored short by the legendary African-American director will be screened, posters will given away to the first 100 attendees of each show and several other surprises will be in store! Visit http://www.ifccenter.com for more information or to purchase tickets!

June 13th, 2007 | Category: Happenings | By MovieMaker Staff

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Basil Rathbone

Basil Rathbone was born on this day in 1892 in Johannesburg, South Africa. His family moved to England when he was a toddler and he became interested in theater at a very young age. He became an accomplished stage actor and remained exclusively as such until the 1930s, when he eventually crossed over to film.
In many of his early roles, Rathbone was typecast as the villainous rake, a trend that continued throughout his career until he found his signature role as Sherlock Holmes in 1939’s The Hound of the Baskervilles. He played the famous sleuth in 16 films and over 200 radio broadcasts. By 1946, Rathbone was so tired of the role that he quit his Sherlock Holmes film series to go back to the stage. In the years after, his career found new life in television and he continued to act and do voice work until his death in 1967.

Factoid: Basil Rathbone is regarded as one of the most skilled swordsmen in the history of Hollywood, but only once was he allowed to win a swordfight on-screen.

June 12th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Sex and Lucía

Sex and Lucía opened in New York City and Los Angeles on this day in 2002. Written and directed by Julio Medem (The Lovers of the Arctic Circle), the film introduced Paz Vega, who would later go on to star in Spanglish and 10 Items or Less, to American audiences. Originally conceived as two separate stories, Medem wove the two narratives together to present a powerful study of love and personal relationships that is reminiscent of the work of Guillermo Arriaga (Amores Perros, Babel) and created one of the most artfully erotic films of the decade. Both Medem and Vega received awards for their work, including a Best Actress Goya for the then-26-year-old actress. Julio Medem is currently in post-production on his next effort, Chaotic Ana.

Quotable: “During the rehearsals, I try to get to the center of the character with the actor, and once I feel we have captured the character, I get out and look at it from the outside. It’s a very intense process during which things start to change.”
--Julio Medem, discussing his his notoriously long rehearsal periods.

June 11th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Film Independent

From the Los Angeles Film Festival to the Spirit Awards, some of the biggest events on the independent film scene are spearheaded by one organization: Film Independent.

Formerly the Los Angeles chapter of the Independent Feature Project (IFP), Film Independent (FIND) broke off into its own organization in May 2005, taking its signature events--including the aforementioned Spirit Awards and LAFF--and a membership of more than 6,300 (and growing) with it.

From June 21 - July 1, 2007, FIND will once again present one of Hollywoodâ€(tm)s biggest film events, the Los Angeles Film Festival. Proving that this is truly a festival for the people, this yearâ€(tm)s event will kick off with the premiere of Michael Bayâ€(tm)s hotly anticipated Transformers, which will screen simultaneously in four theaters to an audience of 4,000 and be followed by a massive block party for everyone in attendance. “Fans have been waiting for this movie for years,” says LAFF director Rich Raddon. “Iâ€(tm)m excited that, through the festival, the public can be a part of this anticipated premiere--not to mention the after-party that will take place in the streets of Westwood.”

Want to be a part of it all? Become a FIND member at www.filmindependent.org or log onto www.lafilmfest.com for information on the LAFF.

June 11th, 2007 | Category: Association of the Week | By MovieMaker Staff

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Ottawa International Animation Festival

When it comes to the film festival circuit, animated films often get a raw deal. Of the fests that do accept animated shorts and features, they’re often considered a sort of “special programming” and relegated to one of those blink-and-you’ll-miss-them time slots… Except when it comes to the Ottawa International Animation Festival.

For more than 30 years, Ottawa, Ontario has been the place to showcase the best in animated content--for aspiring moviemakers and veterans alike. As the medium has grown so has the OIAF’s definition of acceptable submissions, which today includes not just shorts and features, but interactive gaming projects as well as cell phone and made-for-the-Web content, too.

As the largest event of its kind in North America, OIAF has succeeded not only in proving that animated projects deserve just as serious attention as their live-action counterparts (even if Oscar does recognize them separately), but in bringing the talented artists who come here to showcase their toons together with their fans and the industry executives who can take them to the next level.

Think you’ve got what it takes to make it in the high-stakes world of animation? The Ottawa International Animation Festival is accepting entries to its 2007 event, happening September 19 - 23, until Friday, June 15th. Log on to https://ottawa.awn.com for more information.

June 11th, 2007 | Category: Festival of the Week | By MovieMaker Staff

Comments: 1

Top of the Box Office

1. Ocean’s Thirteen
Warner Bros.
Weekend Gross: $37,080,000
Total Gross: $37,080,000

2. Pirates of the Caribbean: At World’s End
Buena Vista
Weekend Gross: $21,316,000
Total Gross: $253,614,000

3. Knocked Up
Universal
Weekend Gross: $20,016,960
Total Gross: $66,240,900

4. Surf’s Up
Sony Pictures
Weekend Gross: $18,000,000
Total Gross: $18,000,000

5. Shrek the Third
Dreamworks SKG
Weekend Gross: $15,750,000
Total Gross: $281,892,000

Totals courtesy of www.the-numbers.com.

June 10th, 2007 | Category: Top of the Box Office | By MovieMaker Staff

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Shia LaBeouf

In one April weekend, actor Shia LaBeouf, born this day in 1986, ensured himself a bona fide young star by starring in the #1 movie at the box office (Disturbia), hosting “Saturday Night Live” and announcing his participation in the next installment of the Indiana Jones epic. Born in Los Angeles, LaBeouf began his career performing stand-up at local comedy clubs. After guest spots on shows such as “The X-Files” and “ER” he landed a lead role on the Disney Channel series “Even Stevens,” for which he won a Daytime Emmy Award for his role as the scheming, mischievous Louis Stevens. LaBeouf soon transitioned to feature films by leading the casts of Holes and The Battle of Shaker Heights, and later guesting in I, Robot and Constantine. As his acting chops have grown, so have LaBeouf’s roles, including his latest in A Guide to Recognizing Your Saints and Bobby. Next up you can hear his voice in the latest animated penguin tale Surf’s Up and see him once again challenging robot rule in the much-anticipated summer blockbuster, Transformers.

Quotable: “I am making a quality cucumber shake here."—Shia LaBeouf, as the quirky Louis Stevens.

June 10th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Robert Preston

The son of a garment maker, Robert Preston Meservey was born on this day in 1918 in Newton, Massachusetts. He grew up in Los Angeles, California and became involved in theater in high school. He dropped his last name and joined the Pasadena County Playhouse where he performed with a number of other up-and-comers and was eventually discovered. Preston gained notoriety when he became a favorite casting choice of director Cecil B. DeMille. The two collaborated three times in four years, but Preston openly detested his benefactor. He is probably best known for his portrayal of Harold Hill in 1962’s The Music Man.

Quotable: “A man can’t turn tail and run just because a little personal risk is involved. What did Shakespeare say? ‘Cowards die a thousand deaths, the brave man… only 500’?” --Preston as Harold Hill in The Music Man

June 7th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Short Takes: The Wide Shots and the Close-Ups

New Release of the Month: Apocalypto (2006)
As a director, Mel Gibson is a sadist. He revels in blood and gore, happy to provide us with three beheadings when one is probably enough. He has an antediluvian view of civilization: Life is nasty and brutish and shorter than the running time of his films. He is a simplistic storyteller, with a moral view as blunt as a caveman’s club. But as a cineaste, he is a savage lover of film, and Apocalypto is a forceful and powerful piece of moviemaking. Gibson is committed to a vision so uncompromising and vividly realized that you are willingly transported to the vanished world that he and his crew have created. Apocalypto is a spellbinding adventure tale, a journey filled with heart-stopping action and suspense and a final climax that involves you completely in the fate of the main character, a Mayan warrior named Jaguar Paw.

Favorite of the Month: The Good German (2006)
This picture is a dazzling exercise in style, and, for much of the movie’s running time, a crackerjack film noir. It’s another example of how Steven Soderbergh is one of the few directors working today willing to experiment with the formal process of moviemaking and storytelling. The experiments sometimes fail (just watch, if you can, last summer’s hideous Bubble). Some critics called The Good German a disaster as well but in nearly every way the movie accomplishes exactly what Soderbergh set out to do, which was to recreate a 1945 post-war black and white thriller, shot on studio back lots with rear projection exteriors, inserted newsreel footage, glamorous stars and a complex plot involving a femme fatale, a morally compromised hero and the early rumblings of the Cold War.
 
Under-the-Radar Movie of the Month: In This World (2002)
British moviemaker Michael Winterbottom took a small crew and two even smaller digital cameras to Pakistan shortly after 9/11 to make this breathless, poignant true-to-life story of two Afghan teenagers who embark on a cross-country journey from the refugee fields of Pakistan to the slums of London. Even though the story is a set-up, and the two boys are “acting,” everything else feels real and immediate in this picture. It’s a gripping, exhilarating example of how the tools of digital moviemaking, used with care and without the baggage of demanding big studio budgets, can result in bracing, topical cinema.

Documentary of the Month: Touching the Void (2003)
This is an absorbing, almost physically wrenching viewing experience. It’s the tale of two men mountaineering in the Andes and what happens when one of them has an accident that results in a life-and-death decision made by his climbing partner. And that’s just the beginning of the story! Normally the mixing of present-day, real-life interviews with dramatic reenactments results in a cheesy, unfulfilling attempt by moviemakers to cover up what should have remained an article in Outside magazine. But the technique works thrillingly in this documentary, a film about friendship and survival that evolves into a philosophical consideration of regret.
 
Classic Movie of the Month: Dr. Strangelove (1964)
Director Stanley Kubrick was often criticized for the cold, malevolent view of humanity presented in his films. But does the diabolical media brainwashing in A Clockwork Orange or the mechanical soldiers conditioned by a brutal boot camp sergeant in Full Metal Jacket seem so farfetched? How about a group of white male politicians planning their post-apocalyptic utopia in an underground bunker? Kubrick first intended Dr. Strangelove to be played as straight drama, but he thought the plot was too outlandish for audiences to believe it. What would he think now, with a current American administration that is, to quote Martin Scorsese, “beyond parody?” Satire seems an ancient lost art in comedies these days, since it requires a world-weary wit and performers with finesse and timing. Watch Peter Sellers in this timeless masterpiece and you’ll see what I mean.
 
Give this a Miss: Pan’s Labyrinth (2006)
Pan’s Labyrinth is a cold and grim piece of work. It feels mechanically assembled rather than crafted. All spontaneity seems ground out of the plot. Its motive as allegory is obvious, and the film’s fantasy elements, including a grotesque talking faun, a giant bullfrog and twittering, shape shifting, flying fairies are—if you’re not into these kinds of things—too repulsive to look at. Fans of horror and fantasy will love this, but reality-based audiences are likely to blink more than once at director Guillermo del Toro’s self-indulgent sadism and creepiness. The story, set in a Spanish forest during Franco’s repressive regime, is the kind of metaphorical fairy tale that contains its own synthetic and malleable logic, so it doesn’t seem to me to be a particularly profound task to bend the fantasy creatures to the necessities of the plot. This makes del Toro’s reliance on shock effects such as the gnawing off of tiny fairy heads and a mandrake root that transforms into an infant seem random and beside the point.  

Check back in July for Rustin Thompson’s next edition of “Short Takes.” Read more about Rustin Thompson at www.rustinthompson.com.

June 7th, 2007 | Category: | By MovieMaker Staff

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Dean Martin

Dean Martin was born on this day in 1917 in Steubenville, Ohio. His real name was Dino Paul Crocetti, which he used until around 1940, when he started performing on radio broadcasts with local acts. In 1946, he teamed up with longtime comedy partner Jerry Lewis and together they achieved stardom. He took up acting and together the two starred in 11 films. In 1958, friction drove the comedy duo apart but Martin’s career continued to be a prosperous one. All told, Dean Martin appeared in 51 movies and hosted many television programs. He had his own show (under different names) for 19 years and had 40 Top 100 singles between 1951 and 1968. He died on Christmas Day, 1995.

Factoid: Only three of Martin’s songs ever went to number one: “That’s Amore,” “Memories Are Made of This” and “Everybody Loves Somebody.”

June 6th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Online Film Casting Call from MySpace and Paramount Vantage

You think you got the moves to stand out in a MySpace crowd? Prove it!

Paramount Vantage and MySpace have partnered to create the first ever, online film casting call. Three grand prize winners will have their on-camera debut in Paramount Vantage’s major motion picture, How She Move.

Three (3) lucky grand prize winners will be flown out to the Toronto movie set on an all-expense-paid trip to meet the cast and be in a major scene in the film. Submit your photo now to http://www.myspace.com/howshemove.

Entrants will submit photos from their profiles to the film’s dedicated MySpace profile - http://myspace.com/howshemove. Producers of the film will then choose three winners, who will be flown out to the movie set to meet the cast and participate in the filming of a major scene.

Winners will have the opportunity to film behind-the-scenes footage on the set. The winner’s footage will be professionally edited by Paramount Vantage and posted on the film’s MySpace profile and the winner’s profile. The contest will run through 6/11/07 and rules will be posted on MySpace.

Paramount Vantage’s director of interactive marketing, Bladimiar Norman said, “The partnership with MySpace is not only an exciting opportunity to offer three people the chance of a lifetime, but also an innovative way to build awareness of the film within its target audience.”

“This is the first time MySpace has partnered with a major motion picture to allow our users the chance to win a walk-on role,” said Josh Brooks, vice president of content and programming for MySpace. “MySpace is the perfect platform to spread excitement for the film and offer our users a unique casting opportunity for How She Move.”

The film centers on a high school student who is forced to leave her private school to return to her old, crime-filled neighborhood, where she rekindles her passion for step dancing. When she enters an international step competition in hopes of changing her destiny, she learns that winning may come at a price. The film is scheduled for release in early 2008.

June 6th, 2007 | Category: Happenings | By MovieMaker Staff

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Vittorio Storaro’s Caravaggio at NYC’s Lincoln Center

Oscar-winning cinematographer Vittorio Storaro, ASC, AIC (Apocalypse Now, Reds, The Last Emperor) recently shot Caravaggio, about the renowned artist whom Storaro says was an inspiration for his own life’s work. The U.S. premiere of Caravaggio is at the Open Roads: New Italian Cinema Showcase at the Walter Reade Theater at New York City’s Lincoln Center. Screenings are scheduled at 6:30 p.m. on Friday, June 8 and at 12:30 p.m. on Sunday, June 10. The Showcase program describes Caravaggio as “a sumptuous, riveting evocation of the life and work of the great Renaissance painter photographed by master cinematographer Vittorio Storaro.” Columbia University will also screen the film during a Caravaggio seminar on September 24 in conjunction with the New York Film Festival. Storaro will speak at that seminar. Caravaggio was produced by Institut del Cinema Català (I.C.C.), Televisió de Catalunya (TV3) and Titania Produzioni. A three-hour version of Caravaggio will air on the RAI Fiction television network in Italy in the fall. The cinema version is two hours. For more information, visit http://www.filmlinc.com.

June 6th, 2007 | Category: Happenings | By MovieMaker Staff

Comments: 1

Little Miss Sunshine

On this day in 2005, Little Miss Sunshine began shooting. With a budget of $8 million, the project was five years in the making as the moviemakers struggled to find financing. The film went on to debut at Sundance in 2006 where it received a standing ovation and an offer from Fox Searchlight Pictures for $10 million, one of the biggest offers ever made in festival’s history. By September 2006, Little Miss Sunshine was playing on 1,500 screens nationwide and had become a bona fide critical darling. By the end of the year, it had grossed nearly $60 million at the box office and been nominated for two Golden Globes and four Oscars (including Best Picture). Sunshine won Oscars for Best Supporting Actor (for Alan Arkin) and Best Original Screenplay (for Michael Arndt).

Factoid: Abigail Breslin wore a fat suit to play Olive, whose dream it was to win the titular pageant.

June 5th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Film School of the Week: California College of the Arts

Thanks to the digital revolution, the tools of the moviemaking trade are now easily available to everyone. And while these advancements have created a new wave of moviemakers able to utilize the technology, that does not mean that all of them are necessarily able to bring together a cohesive and compelling movie. That’s where an education becomes useful--and the California College of the Arts steps in.
Beginning in the fall of 2008, the school will launch a new all-digital graduate film program, which, much like the school’s earliest classes, will be used to teach concepts based on the latest technological advancements. “Ultimately we are approaching digital [technology] as a tool with new aesthetic possibilities," explains Academy Award winner and CCA program chair Rob Epstein.

In 1907 cabinetmaker Frederick Meyer founded the California College of the Arts to educate students on the trades of the Arts and Crafts movement--a movement developed in response to the new technology of the Industrial Revolution. German-bred Meyer began with $45 in funds, three teachers and three classrooms. Today, CCA students roam two campuses and study 19 different undergraduate program--ranging from sculpture to the written word--and six fields of graduate work. Digital, narrative moviemaking is the next logical step.

“In keeping with the goals of the college, we see exciting possibilities for a narrative film program within an arts context,” says Epstein. Plus, “we will be ahead of the digital tsunami that is about to hit every film program, as well as the film industry--if I hasn’t already.”

Applications for the first semester of CCA’s graduate film program are due later this year. For more information, visit www.cca.edu.

Sound Off: The moviemaking world is still abuzz with word of the impending “digital revolution.” Where do you think this revolution will take us next? Let us know in the “Comments” section.

June 4th, 2007 | Category: Film School of the Week | By MovieMaker Staff

Comments: 11

Cannibal Holocaust

Cannibal Holocaust started shooting on this day in 1980. Directed by Ruggero Deodato, this film was part of a wave of exploitation era Italian films about cannibals and easily the most recognized of all of them. Featuring the actual killings of seven animals, graphic scenes of cannibalism and a racist portrayal of Amazonian natives, Deodato’s commentary on violence in the media has been a subject of controversy from the moment of its release. After 10 days at the domestic box office, the film was seized under suspicion of being a snuff film (a rumor that endured for years). In response, several countries banned Cannibal Holocaust, including Australia and the U.K. Still, many critics have commended Deodato on his direction and the conscientious message the film conveyed. Holocaust remains one of the most notorious grindhouse films of all time.

Factoid: Ruggero Deodato makes a cameo appearance in Eli Roth’s upcoming Hostel: Part II.

June 3rd, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Screenwriter of the Week: Judd Apatow

Judd Apatow is just a loyal, humble kid from Long Island. Or so he would have you think. The truth is, he’s a loyal, humble, funny as hell kid from Long Island. And don’t you forget it.

Influenced by the likes of Bill Murray and Steve Martin, Apatow’s career has slowly blossomed into a comedian’s fantasy. Before garnering critical acclaim as a writer-director on the television series “Freaks and Geeks,” the comedian enjoyed stints on the writing teams of “The Ben Stiller Show” and “The Larry Sanders Show.” But it wasn’t until his 2005 directorial debut, The 40-Year-Old Virgin, that audiences finally discovered this was the wizard behind some of the funniest big- and small-screen comedies of the past 15 years.

Now the wizard is back with his unlikely band of brothers in Knocked Up. The comedy, starring “Grey’s Anatomy” star Katherine Heigl and Apatow regular Seth Rogen, offers the Apatow staple: A journey toward being good. “Basically, I try and make these movies with the thought that they’re about trying hard not to be an asshole,” explains the moviemaker. In this case, that means Rogen’s character will try to transform himself from pot-smoking slacker to responsible father figure in the nine months it takes his one-night stand to deliver their baby. “Hopefully,” Apatow muses, it’s “ultimately an uplifting movie about love and people trying to make connections with odd bedfellows.” And really, that’s all we ask for from this entertaining boy next door.

Sound off: While the story and screenplay might be all his own, Judd Apatow practices what he calls “writing a movie on its feet,” where improvisation is encouraged and often yields hilarious results. Of all the writer’s work, which line or exchange still manages to stand out? Share your thoughts in our comments section!

June 3rd, 2007 | Category: Screenwriter of the Week | By MovieMaker Staff

Comments: 2

Top of the Box Office

1. Pirates of the Caribbean: At World’s End
Buena Vista
Weekend Gross: $43,188,000
Total Gross: $216,527,000

2. Knocked Up
Universal
Weekend Gross: $29,284,000
Total Gross: $29,284,000

3. Shrek the Third
Dreamworks SKG
Weekend Gross: $26,704,000
Total Gross: $254,611,000

4. Mr. Brooks
MGM
Weekend Gross: $10,020,000
Total Gross: $10,020,000

5. Spider-Man 3
Sony Pictures
Weekend Gross: $7,500,000
Total Gross: $318,264,000

Totals courtesy of www.the-numbers.com.

June 3rd, 2007 | Category: Top of the Box Office | By MovieMaker Staff

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Moviemaker of the Week: Steven Soderbergh

In 1989 Steven Soderbergh began the Sundance Revolution--the beginning of the independent film movement as we know it today--when he premiered his low-budget feature sex, lies, and videotape at the iconic Park City festival. Its unconventional story and exceptional performances created the fest’s first true bidding frenzy among attending distributors and earned its director quite a few awards, including the Palme d’Or at that year’s Cannes Film Festival.

Soderbergh returned to Cannes this May with the premiere of his most recent project, Ocean’s Thirteen, the second sequel to his hit 2001 crime caper, Ocean’s Eleven. Ready to defend one of their own, the Ocean’s band of characters reunites with the goal of taking down one of Sin City’s wealthiest casino owners. Like its predecessors, the movie stars an impressive assemblage of today’s hottest acting talent, including Brad Pitt, Matt Damon, Al Pacino, Andy Garcia, Don Cheadle and frequent Soderbergh collaborator George Clooney.

After directing Clooney in 1998’s Out of Sight, the moviemaking pair established a production company, Section Eight, out of which emerged most future directorial efforts from both men. In 2001 Soderbergh achieved a feat few before have ever experienced: Two Best Director Academy Award nominations for Erin Brockovich and Traffic--the latter of which brought him home the trophy.

“For me, as a producer, there’s Steven Soderbergh and then there’s everybody else,” explains Jerry Weintraub, who has worked on all three Ocean’s movies with the renowned director. “In everything we have done together, we have a wonderful partnership. Any accolade that can be said about the guy, he lives up to. He is simply great.”

June 3rd, 2007 | Category: Moviemaker of the Week | By Mallory Potosky

Comments: 1

In Theaters Now: June 1, 2007

Day Watch
directed by Timur Bekmambetov
This sequel to 2004’s Night Watch finally sees a limited U.S. release after finding great success in its native Russia last year. For those unfamiliar with the trilogy, the Watch movies are a modern day darkness versus light story about the guardians who make sure the two remain separate. Night Watch was hardly watchable--it just didn’t make a whole lot of sense. Having said that, the sequels (this one and the upcoming Dusk Watch) are rumored to be vast improvements. Let’s hope that’s the case because I’d really hate to have to take down my Anna Kournikova poster over this.

Gracie
directed by Davis Guggenheim
This is a semi-autobiographical account of Elisabeth Shue’s childhood struggle to play soccer with the boys. In addition to producing with her brother, Andrew, Elisabeth returned to her New Jersey hometown to co-star (with her husband at the helm). We can assume that Gracie will reach its audience and do fairly well. It’s heart-warming in a sense to see a family come together and create art. At the same time, this does seem terribly narcissistic, doesn’t it?  On the other hand, you wouldn’t call a memoir narcissistic. Call me a hater.

Knocked Up
directed by Judd Apatow
We here at MM are very excited for Apatow’s latest. We expect this one to be every bit as fun and well received as his previous directing effort, The 40-Year-Old Virgin. In fact, it’s not too bold to suggest that this movie will do for longtime Apatow buddy Seth Rogen what Virgin did for Steve Carell. And where the last one didn’t hit theaters until mid-August, Knocked Up is set to hit the summer market straight on and show serious legs. Its release this week can’t come soon enough for all R-rated comedy lovers.

Mr. Brooks
directed by Bruce A. Evans
Kevin Costner, William Hurt and Dane Cook are all said to show their range in this dark thriller about a mild-mannered businessman (Costner) with a psychotic alter ego (Hurt). Cook plays his devious accomplice. It’s really hard to tell if a film in this genre is any good. Add to that the fact that Costner’s films are uneven at best and Mr. Brooks looks to be a real gamble. But there’s a lot of talent in this cast and something tells us this film is a cut above the competition.

Rise: Blood Hunter
directed by Sebastian Gutierrez
What a terrible, terrible title. It gives me heartburn. Reporter Lucy Liu wakes up in a morgue and realizes she is one of the undead. Then she goes back to reporting the news. I lied. That might actually be a fresh idea for a movie. Instead she takes the predictable course of seeking out the vampire sect who took her life. If this movie were sitting outside the theater in a wheelchair with a little tin cup and a crying infant, I wouldn’t give it my money.

--Kevin McCarthy

May 31st, 2007 | Category: In Theaters Now | By MovieMaker Staff

Comments: 2

Morgan Freeman

On this day in 1937, Morgan Freeman was born in Memphis, Tennessee. After four years as an Air Force mechanic, Freeman began his acting career on the stage before trying film in the 1970s. His breakout role was as New York pimp “Fast Black” in 1987’s Street Smart opposite Christopher Reeve, for which he earned an Oscar nomination. He followed this up with an extraordinary performance in 1989’s Driving Miss Daisy, garnering him a second nomination from the Academy. By the 1990s, his reputation as one of modern cinema’s foremost actors had been established. He supplements his acting career with frequent voice work, providing the narration for many of his own films as well as other major motion pictures such as 2005’s March of the Penguins.

Factoid: Morgan Freeman is the only African-American actor to appear in three Best Picture Oscar winners: Driving Miss Daisy, Unforgiven and Million Dollar Baby.

May 31st, 2007 | Category: This Day in Indie History | By MovieMaker Staff

Comments: 2

Clint Eastwood

One of today’s living legends was born on this day in 1930. Clint Eastwood began acting circa 1955, performing in B movies for Universal. A year and a half later, the studio dropped him (rumor being because a studio executive thought his Adam’s Apple was too big). Eastwood rebounded with a part on the long-running CBS western “Rawhide,” which led to his Man With No Name role in 1964 in Sergio Leone’s classic spaghetti western trilogy--A Fistful of Dollars, For a Few Dollars More and The Good, the Bad and the Ugly. Eastwood cemented his star status with the title role in Dirty Harry, a part he would reprise in its four sequels. Today he is equally well known as a talented director, having been nominated for three directing Oscars in the past four years and winning once. He has also served as producer on several of his films, accepting a Best Picture Academy Award in 2004 for Million Dollar Baby.

Factoid: On “Inside the Actor’s Studio,” Clint recounted how surprised he was to find himself starring in the hit film A Fistful of Dollars in 1964. The title had been The Magnificent Stranger up until days before the premiere and no one had clued him in.

May 30th, 2007 | Category: This Day in Indie History | By MovieMaker Staff

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Location of the Week: Shreveport, LA

Shreveport is beginning to get a creepy reputation. Located on the banks of the Red River in northwest Louisiana, Shreveport has emerged as a choice location for moviemakers from all over. According to a 2000 census, 12 percent of the city’s area is covered in water in the form of tributaries and wetlands, making it a great place to get that authentic bayou setting on film. So far this year, both The Reaping and Premonition have shown off some of Shreveport’s arresting landscapes. With Frank Darabont’s Steven King adaptation of The Mist arriving in November, we can only assume Shreveport is going to get even spookier.

But there’s another side that moviemakers are exploring. The state’s third-largest city, Shreveport serves as the cultural center for a large area covering parts of Louisiana, Texas and Arkansas. Kevin Costner must have enjoyed his time in Shreveport during the filming of last year’s The Guardian; he returned to the city play the title role in the upcoming Mr. Brooks, about an ironically split-personality businessman.

The city’s Economic Development Coordinator, Arlena Acree, says Shreveport prides itself on its accommodations. “Any buildings owned by the city or parish are free for use as locations and an advanced transportation infrastructure means you can shoot at four or five different places in a single day.” This is a film-friendly city, with special locations (an empty jail cell, for instance) set aside for moviemakers. The best part is Shreveport is very affordable and the State of Louisiana offers incentives to local talent.

For more information, visit www.shreveportfilms.com.

May 30th, 2007 | Category: Location of the Week | By MovieMaker Staff

Comments: 3

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