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Things I’ve Learned as a Moviemaker
Always embrace the contradictions.
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Straight to the Source
Eric Manes, Martin Kunert and Archie Drury break new ground with Voices of Iraq
We've heard it countless times over the past several months-in the media, from voters and from the presidential candidates themselves: One of the most important issues affecting the 2004 election will be the situation in Iraq. But what, exactly, is the current situation? As Americans grow more suspicious of an increasing media bias, moviemakers Eric Manes, Martin Kunert and Archie Drury went to the heart of the controversy-Iraq itself-to get the answers.
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The Smartest Guy in the Room
Documentarian Alex Gibney takes on Enron
Some film schools have to struggle to keep up with the current pace of technology—but not CDIA. The Center for Digital Imaging at Boston University gives its students that extra boost in a fickle film education marketplace by utilizing cutting-edge technology… while never losing touch with traditional film craft.
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Making “Distributable” Work-At School
Making movies-and lots of them-is the key to education at Columbia College Chicago
Located in the heart of downtown Chicago, the film and video department of Columbia College Chicago boasts one of the most interactive film programs in the country. The school has a simple, yet extremely effective, method of teaching: In order to understand the moviemaking process, students must make movies-and lots of them!
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Things I’ve Learned as a Moviemaker
I remember times when I worked until midnight on a music video, then slept for two hours, grabbed a cab across town and started another one at three in the morning. I'd catch a plane later that morning to shoot a commercial.
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One Night with O’Toole, Hollywood’s Straight Man
DP Steven Bernstein does it one picture at a time
After moving to Los Angeles in the mid-1990s, cinematographer Steven Bernstein quickly amassed a body of work that includes an extraordinarily eclectic range of some 25 narrative film credits, including Jade, Murder at 1600, Scary Movie 2, Monster, Blade: Trinity and the upcoming One Night With the King and Little Man.
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Things I’ve Learned as a Moviemaker
Even if you think it's crap, you'll be glad you finished it. Do a lot of random favors for people so that when you make your movie you can guilt them into working on it for free.
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Things I’ve Learned as a Moviemaker
I worked at becoming the best writer I could be-the best writer in terms of character, dialogue and dramatic intent-and I keep working at it. I never stop, and by doing that it makes me valuable in the long term, not in the short term. I've written lots of spec scripts that don't sell, but it makes me valuable over the long term because ultimately what Hollywood craves is the Nobel Prize winner who they can make write romantic comedies.
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One Sucker at a Time
Jenna Fischer shows her philanthropic side in LolliLove
Jenna Fischer, the actress best known to audiences as Pam, the sweet receptionist on NBC’s “The Office,” is proving she’s more than just a pretty face. Fischer spoke with MM about her hilarious new mockumentary, what it takes to make it as a director and the difficult task of keeping her husband—writer-director James Gunn—under control.
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Inside, Upside, Downside Hollywood
Screenwriter Daniel Pyne on what it takes to succeed
How does a writer with a penchant for indie cinema and obscure foreign literature become Hollywood’s go-to guy for big-budget suspense, action and intrigue? Practice? Connections? “Luck,” says veteran screenwriter Daniel Pyne.
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Things I’ve Learned as a Moviemaker
You have a choice of being "in the business" or of making movies. If you'd rather do business, don't hesitate. You'll get richer, but you won't have as much fun!
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Things I’ve Learned As A Moviemaker
When a script is ready, I commit to it. That's one of the problems with me. I usually develop my own material, and it takes a while, so therefore I am not directing as much as other people. And it's frustrating. You want to be working as much as possible, but I can only do the things I get passionate about.
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Batman and Kramer
The writer-director behind The Cooler arrives on the scene
Wayne Kramer is making his moviemaking
dreams a reality. After two indie features-Blazeland (which he calls "an
epic of misfortune unto itself") and Crossing Over-Wayne Kramer
is making a name (and career) for himself with The Cooler, a gritty
tale of the Las Vegas underworld starring William H. Macy, Alec Baldwin,
Maria Bello and Ron Livingston. On the eve of the film's release, Kramer
spoke with MM about his goals as a moviemaker, being a
collaborator and what it's like to go up against Alec Baldwin.
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The Power of “Warts and All” Moviemaking
Taylor Hackford takes on Ray Charles and Jamie Foxx
Early Oscar buzz may be the Holy Grail for most directors, but Taylor Hackford isn’t your average Hollywood helmer. Working in and out of the system for more than 25 years now, he’s more concerned with knowing that audiences will finally get to see Ray, a film 15 years in the making.
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The Lingering Auteur
Legendary writer-director-photographer Wim Wenders redefines the western with Don't Come Knocking
Over the course of 40 years, master moviemaker Wim Wenders has directed 45 projects (writing and producing many of them). At the age of 60, he shows no sign of slowing down. As he prepares for the release of Don’t Come Knocking, MM spoke with Wenders about collaborating with Sam Shepard, both on-screen and off.
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It’s Their Thing
The Ghetto Film School brings moviemaking education to inner city youth
With its rapid-fire, nine-week program, the unique Bronx-based Ghetto Film School has provided an education in the art of moviemaking to underprivileged high school students since 2000. MM spoke with the school's president, Joe Hall, about the organization's history, philosophy and plans for the future.
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Things I’ve Learned as a Moviemaker
Trust your script. It's easy to fall in love with something that's "set funny." Trust the document that made you want to make the film, even if you wrote it yourself.
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Things I’ve Learned as a Moviemaker
Say something that isn't just a platitude; something that really is meaningful.
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Second Chances
Writer-director Laurie Collyer explores her past in Sherrybaby
After coping with the loss of childhood friends from overdoses and prison, writer-director Laurie Collyer let out her aggression the only way she knew how-through movies. Gaining recognition for her gritty documentary Nuyorican Dream in 1999, Collyer quickly began work on her first screenplay, Sherrybaby, to explore the deep-seeded issues of her past.
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In True Indie Fashion
Editor-turned-director Curtiss Clayton strikes out on his own with Daniel "Lemony Snicket" Handler's script, Rick
You'd think that after 20 years in the business, making movies would only get easier. But as editor-turned-director Curtiss Clayton discovered with his directorial debut, the dark dramedy Rick, all the experience in the world cannot protect you from The Laws of Indie Moviemaking.
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Make Them Laugh-Then Make Them Think
Director Jason Reitman says Thank You For Smoking
Since its premiere at last year’s Toronto Film Festival, Jason Reitman’s Thank You For Smoking has been acquiring the kind of overwhelming buzz that is often associated with great moviemaking success stories. MM recently spoke with Reitman about perseverance, his father Ivan’s good name and the harsh reality check that is IMDB.
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Things I’ve Learned As A Moviemaker
If you're lucky to be cutting the film while they're still shooting, and you feel like you're missing a shot that would help you to make a scene or transition better, go and ask the director for it. Nine times out of 10, they'll be glad you did. Cutaways and establishing shots are usually the first things to get scratched off of the day's shot list as time grinds down, but if you really feel you need something, go for it.
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Screening Movies with a Message
The Oxford International Festival of Films distinguishes itself from the pack
In a world where new film festivals sprout up faster than bad Michael Bay films, the Oxford International Festival of Films is distinguishing itself with one simple but distinct approach: Films with a message. As the city of dreaming spires gears up for this year's event, MM spoke with OIFF's festival director Patricia Terrell about why one need look no further than Oxford, England to find the very best in cinema.
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Stuck in the Middle
Amy Duddleston balances the demands of the editing room
Duddleston has collaborated with some of the independent world's most well-known names, including Gus Van Sant and Lisa Cholodenko. Here, Duddleston speaks with MM about the misconceptions of the profession, how to play the industry game and how it all started with Revenge of the Nerds.
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Things I’ve Learned as a Moviemaker
Don't over cut. If a project goes on too long in post it gets a smell on it that won't go away.
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Everything is Unlaminated
Editor Chris Tellefsen likes to keep it spontaneous
From rap music to survivalists, bullet-proof clothing to porn conventions, you name it and moviemaker Chris Tellefsen has probably edited it. Fresh off the success of Capote, and finishing up James Foley’s Perfect Stranger, MM talked to Tellefsen about his place in the independent film movement and why less is always more.
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Things I’ve Learned as a Moviemaker
People make it to the top of this business because they refuse to compromise or settle for less than the best finished product.
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Things I’ve Learned As A Moviemaker
The biggest thing is persistence and really sticking to it. It seems to take anybody I know 10 years to really get started.
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Brains, Balls and Luck
Russell Gewirtz hits the big time with Inside Man
At first blush you may think that screenwriter Russell Gewirtz is the luckiest man alive… and you might be right! Originally written as a spec script, Inside Man is now one of the year’s biggest hits, thanks to taut direction by Spike Lee and an all-star cast that includes Denzel Washington, Jodie Foster and Clive Owen. MM caught up with the screenwriting world’s most promising newcomer to discuss what makes a classic crime-drama and why it pays to live a little first.
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Everyday Heroes
Jim Taylor and Alexander Payne team up again for Sideways
Beginning with 1996's Citizen Ruth, Taylor and Payne have penned some of the most critically acclaimed scripts of the last 10 years, including Sideways, (a film that has already swept every critical and industry award list and is a surefire Oscar contender), Election and About Schmidt.
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Things I’ve Learned as a Moviemaker
I found that when you think you're done editing you can always cut out another 20 minutes (as long as your film is not 90 minutes when you first get that feeling).
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Full Sails Ahead
Orlando's Full Sail looks toward the future
It's got the term "Real World Education" in its name for a reason: Full Sail is all about training aspiring moviemakers to get out there and work once they've graduated. Here David Franko, Full Sail's program director for film, gets to the heart of the school's mission.
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Auteur Seeks Complex Character
Writer-Director David Jacobson tackles complex characters in Down in the Valley
First gaining attention with 2002’s Dahmer, a brilliant character study depicting the life of serial killer Jeffrey Dahmer, writer-director David Jacobson secured his position as a new and important voice in independent cinema with three Independent Spirit Award nominations. Now, with Down in the Valley, Jacobson is crossing character lines once again. Jacobson spoke with MM about working why test screenings do more harm than good and the joy that lies in writing characters that cannot be easily pinned down.
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Things I’ve Learned as a Moviemaker
Budgets have never scared me as an actor or as a director or as a producer. I've worked on movies that cost $3 million and I've worked on movies with larger budgets. It's just the question about whether one feels the emotional connection to the material and the need to tell that story. I think a lot of movies have very large budgets because they're mismanaged and have indulgent qualities that don't need to happen. Lower budget doesn't mean lower quality. Look at the movies that were celebrated at the Oscars.
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For Love or Country
After 16 years, Andy Garcia brings The Lost City to life
Though he’s considered one of the most talented actors of his generation, bringing The Lost City to life was no easy task for Andy Garcia. A project 16 years in the making, the quadruple threat producer-director-actor-composer took time out from working on the film’s soundtrack to speak with MM about bringing his passion project to the screen and directing his first feature.
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