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The Business of Making Movies
1. Make a Film. 2. Develop a Career. Metropolitan College of New York's Dr. Faye Ran-Moseley gives an overview of the school's unique program
It's no secret that the film industry is part business and
part artistry. But when it comes to film education, a focus
on the latter has long been the norm. Metropolitan College
of New York (formerly Audrey Cohen College) is breaking the
rules when it comes to film education and leaving a string
of successful graduates in its wake. With an MBA program that
focuses solely on Media Management (not to mention a trip
to the Cannes Film Festival) Metropolitan College is redefining
the usual approach to film school with fantastic results.
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Things I’ve Learned as a Moviemaker
I've always been a bit nervous about dealing with actors and that relationship. I always feel I don't know the dialogue or the language you speak with actors. I've never rehearsed, so I'm pretty much winging it on-set. Everything happens right there and then, and it's always risky. More money would mean more time and it would mean spending more time with the actors.
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A Success Story for Slackers
An Interview with waydowntown Writer/Director Gary Burns
Gary Burns, a writer-director from Calgary, Canada, has created
three features in six years. His first, The Suburbanators
was a critical success; his second, Kitchen Party,
was called "the funniest, nastiest comedy of manners to come
down the pike in months" by The New York Times. His
latest feature, waydowntown, a smart satire on corporate
life and modern human existence, was the winner of the Best
Canadian Feature at the Toronto Film Festival in 2001 and
is currently playing in theaters throughout America. Here
Burns discusses the challenges of being a writer-director
and the pleasures involved with dreaming up stories for a
living.
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Things I’ve Learned as a Moviemaker
Choosing projects is kind of harrowing because editing a feature is a huge time commitment (six months to a year). I try to take on projects with people that I like spending time with and whom I feel can help me learn or grow. It has to be something that's going to stretch my boundaries as an editor and as a person.
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The Tao of Steve
Steve Hamilton, longtime editor for Hal Hartley, talks about their latest collaboration, No Such Thing
Containing a virtual who's who of the New York independent
film community on his resume, editor Steve Hamilton has worked
with Michael Almereyda (The Rocking Horse Winner),
Ang Lee (Sense and Sensibility) and Bart Freundlich
(The Myth of Fingerprints). Since 1990, his most frequent
collaborations have been with Hal Hartley. Hamilton
is also the founder of Spin Cycle Post, and pioneered the
use of AVID technology for post-production on low budget features.
He currently runs his own digital editing facility, Mad Mad
Judy, in New York City.
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Things I’ve Learned as a Moviemaker
I think film is more like a canvas, a painting, and you make it alive with flesh and blood characters. You have to have a particular vision; a film has to have a certain look to it, and you have to create that look. All of the various components contribute to that painting, whether you are talking about the production designer, the actors, the locations, the music. All of this adds to the complete canvas. And if one portion is weak then the canvas in not complete. These things cannot be compromised on. If there are money restrictions or whatever then you go and steal the money from somewhere else. These things reflect in your work so you can't compromise on them.
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Crossing Boundaries
The Reinvention of Auteur Ismail Merchant
One half of Merchant Ivory Films, a company associated with
some of the most literate, laced-up, quality cinema of the
last 20 years, Ismail Merchant has built a reputation as one
of the most successful producers in film today. His recent
forays behind the camera now include The Mystic Masseur
(opening nationwide next month) adapted from the novel by
V.S. Nipul. The main character shares Merchant's own seemingly
boundless energy—and his talent for reinventing and redefining
himself.
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Things I’ve Learned as a MovieMaker
Be serious about it. The characters have to believe in the situation they are in and play it for real.
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The Triumph of Clare Peploe
Bertolucci's better half scores another directorial victory
Clare Peploe didn't plan it this way. The writer/director
whose new picture, The Triumph of Love (at theaters
this month), she adapted for the screen with husband Bernardo
Bertolucci (The Last Emperor, The Conformist) never
meant to become a moviemaker. Her entry into the film business
came serendipitously, through her friendships with moviemakers
in Italy, including renowned director Michelangelo Antonioni
(Zabriskie Point, Blow Up). Her latest film,
The Triumph of Love, stars Mira Sorvino and Ben Kingsley
in a spry and deliberately modern take on the 18th
century French farce by Pierre Marivaux.
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Bright Lights, Big Sin City
CineVegas' L. Mimosa Jones is looking to create a Cannes-like event in the Nevada desert
In just three short years, L. Mimosa Jones transformed
the Entertainment Development Corporation (EDC) of Las Vegas
from a start-up nonprofit to a thriving film enterprise, bringing
an additional $120 million in film production revenues to
Las Vegas. In 2001, the EDC acquired the CineVegas International
Film Festival, which is getting a facelift for 2002, and hopefully
establishing itself as a preeminent marketplace.
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Things I’ve Learned as a Moviemaker
It takes a lot of devotion and love to make a film, and it is hard work. It just becomes more fun if you love what you're working on and you enjoy the people you're spending those long hours with.
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The Thrill of Living on the Edge
A Conversation with Insomnia Editor Dody Dorn
After working a number of production positions, including
assistant to the producer, script supervisor, and assistant
location manager, Dody Dorn found the place that suited
her best was in the cutting room. She received an Oscar nomination
earlier in the year for her work on Christopher Nolan's Memento
and she's teamed up with him again for the crime-thriller
Insomnia, in theaters now.
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Things I’ve Learned as a MovieMaker
I've learned that the surest way to ensure employment or a career in the movie business is to have a friend or friends that will give you a job. I have had numerous conversations with crew people on how they got their start in the industry. The majority of these chats have included the sentence "well, my friend got me a job as a...". I believe that the more friends you have is directly proportionate to the number of job opportunities available to you.
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Test Driving the Future
The DP behind Like Mike talks about new technology in film
Shawn Maurer never planned to work in film. Though
he grew up appreciating motion pictures, it wasn't until enrolling
in a film class in community college that he realized the
place he belonged was behind the camera. His most recent work
can be seen in the family fantasy, Like Mike, a film
that allowed Maurer the chance to shoot on Fuji's new Reala
500D film.
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Things I’ve Learned as a Moviemaker
Be simple with what you tell them. Don't spend too much time explaining. It's a lot like sports. In sports, if you ask somebody to do something that they know how to do that's good for them, they will often do it and do it brilliantly. And if you asked them to do something they don't know how to do then they suffer, and it will be awkward. One of the most important things in working with actors is to learn what they are and what they do naturally and work with that; go with that; use that.
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In the Hot Seat
Writer-Director Henry Bean discusses the controversy surrounding The Believer
Henry Bean has put himself in the hot seat. A successful
scribe for many years, he has moved into the director's chair
on his new picture, The Believer. Shot on Super 16mm
for $1.5 million and seen earlier this year on Showtime, The
Believer (now in theatrical release) has generated more
than its share of praise and controversy.
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Writers University: A Name Writers Can Trust
The Writers Store dives headfirst into education with Writers University
With so many film education options out there, it's nice to see a name you know. After years of providing beginner and veteran screenwriters with the tools they need to be successful, Los Angeles' The Writers Store is jumping headfirst into the world of film education. With Writers University, the company is giving aspiring and professional writers alike the chance to perfect their craft-when it's convenient for them.
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Things I’ve Learned as a MovieMaker
It was a good place to make mistakes and be an idiot--but learn. You make all these videos that nobody will ever see. If someone can pay for it, even better.
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Woman on the Verge
Nicole Holofcener discusses her latest film, Lovely & Amazing
After cutting her teeth on the set with such notable moviemakers
as Woody Allen and Allison Anders, Nicole Holofcener achieved
remarkable success as a writer-director with her first feature,
Walking and Talking. Her latest film, Lovely &
Amazing, a dysfunctional family story that is at once
entertaining and poignantly human, opens in theaters later
this month.
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No Politics Allowed at New England’s Largest Film Festival
No Politics Allowed at New England's Largest Film Festival:
Cited by critics as a "Best Kept Secret Festival," Rhode Island International Film Festival Executive Director George Marshall speaks with MM about what makes his event different, the needless competition among festivals and how a screening is its own reward.
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The UCLA Professionals Program
Higher Film Education That Fits Your Schedule
Long known as one of the world's top film schools, UCLA's dedication
to education doesn't end with each semester's incoming class.
UCLA Professional Programs Coordinator Stephanie Moore
chats with MM about the curriculum and how the Internet is revolutionizing
the way film is seen and taught today.
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Things I’ve Learned as a Moviemaker
Always fight for what you believe in.
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The Power of Positive Friction
A Conversation with Editor Saar Klein
After serving as the post-production intern on Oliver Stone's
JFK, editor Saar Klein's resume has grown to include
collaborations with some of the film industry's most celebrated
directors, including Terrence Malick on The Thin Red Line
and Cameron Crowe on Almost Famous. Most recently,
Klein teamed up with director Doug Liman to cut the eagerly
awaited The Bourne Identity, at theaters now.
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Things I’ve Learned As A Moviemaker
When I was starting a new film at the beginning of my career, each time I would watch this documentary about the making of Fanny and Alexander. You see Bergman and Sven Nykvist working together; they are so simple, so fantastic and even a bit terrified to shoot at the beginning. These guys are what, 70 years old, and they are still a bit afraid. I would watch this film just to feel this spirit before I began to shoot.
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Things I’ve Learned as a MovieMaker
It's about having a very strong ego that's properly placed rather than misplaced. Properly placed is when it's honest. Don't be a "winner;" be a collaborator for everything you think is the best thing to do, but not because it was your idea.
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The Road To Perfection
A Conversation with Conrad L. Hall
With more than 40 years of experience behind the camera, cinematographer
Conrad L. Hall has left an indelible mark on American
cinema as DP on such classic pictures as Cool Hand Luke,
Butch Cassidy and the Sundance Kid and Marathon
Man. After picking up an Oscar for American Beauty,
he's reteamed with director Sam Mendes for The Road to
Perdition, at theaters now.
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Things I’ve Learned as a Moviemaker
Try to have a little fun along the way in the process because life is very short. And it's very difficult to be in the film business-or any artistic business, whether it's music or painting or anything like that-and I'm just trying to have a little fun.
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Wake-up Call to Hollywood
An Interview with Writer Milo Addica
2001 proved an unbelievable year for Milo Addica: six
years after co-writing the script for Monster's Ball,
the writer/actor witnessed the enormous success of a film
that almost never was. With several new projects on his plate,
including one for Steven Soderbergh's Section Eight and another
for Imagine Entertainment, Addica opens up about the writing
process and the power of perseverance.
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Things I’ve Learned as a MovieMaker
Treat the writer with respect if he or she is any good-and have him or her on the shoot.
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Movies with Meaning
The Angelus Awards' Monika Moreno Speaks Out
With a students-only policy, tremendous track record and tens of thousands of dollars up for grabs, the Angelus Awards Student Film Festival is a great first step in the door to Hollywood. Here, MM speaks with Angelus Director Monika Moreno about why students make better moviemakers and the triumph of the human spirit.
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Film Education on a Global Scale
A Conversation with Vancouver Film School's Marty Hasselbach
Since opening their doors 15 years ago-- with a class of 12 students-- the Vancouver Film School has grown into one of the world's most respected film education institutions. In an interview with MM, Vancouver Film School's Managing Director Marty Hasselbach discusses the school's unique approach to learning, their adherence to the rule of quality over quantity and how a year at VFS is like a year spent in France.
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The Power of the Fluid Camera
A Conversation with Cinematographer Jeff Cronenweth
For Jeff Cronenweth, cinematography was in
the gene pool. The son of legendary DP Jordan Cronenweth,
Jeff has made a name of his own, first working behind the
camera on David Fincher's stylish Fight Club and
most recently on Kathryn Bigelow's K-19: The Widowmaker
and Mark Romanek's highly-anticipated One Hour Photo.
Here, Cronenweth talks about the challenges of finding your
own style and working with family.
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Things I’ve Learned as a Moviemaker
Never stand in doorways.
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Torn Pages From a Life
A Conversation with Full Frontal Scribe Coleman Hough
If you don't recognize writer Coleman Hough's
name from her equal billing with Steven Soderbergh's on the
poster for the powerhouse director's new film Full Frontal,
it's because this is her first produced screenplay. Here Coleman
talks with MM about working with Steven Soderbergh
and how her writing is always "torn from the pages of
her life."
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Things I’ve Learned as a MovieMaker
LA is ironically and paradoxically a dangerous place to be if you make movies. Because it's almost impossible to keep a sense of film as a representation of life and to get connected to what's going on outside. In other words, if you're going to make films about making films, that's a good idea for a film. But to continue in a career in which it's all self-reference and self-quotation or quotation from friends or enemies, it's such a distortion of what film can and should be.
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Latest from the blog:
James Schamus Honored with Trailblazer Award at Woodstock
James Schamus, the man behind Focus Features (think The Constant Gardener, Atonement), was chosen to receive the 2008 Trailblazer Award from the Woodstock Film Festival. Prior to working at Focus he was co-president of independent production company Good Machine for 11 years and won numerous awards for his own work, including the award for Best Screenplay at the 1997 Cannes International Film Festival for The Ice Storm.
Posted 09.5.08 | No comments yet...
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