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Truly Moving Images
The Center for International Disaster Information announces a call to arms for film students looking to make a difference
Socially-conscious moviemaking is on the rise-from thought-provoking documentaries like Spike Lee's When the Levees Broke: A Requiem in Four Acts to dramatic adaptations of real-world atrocities such as those seen in Hotel Rwanda and The Last King of Scotland. But how does a film student break into this arena? The Center for International Disaster Information's PSAid Film Contest may be the answer.
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What I’ve Learned as a Moviemaker
When you're the editor, you're not the director. You didn't conceive or shoot the film. When the footage for a scene arrives, try to forget every notion you had about what the scene was supposed to be like and take all your cues from the film that was actually shot. There will be time later to try to push the scene in some other direction, but it's important for me to not have a plan, and to simply find the scene in the footage.
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Breaking Away
Editor Tim Squyres on his longtime collaboration with Ang Lee and his latest work on Robert Altman's Gosford Park
If Tim Squyres' name is not immediately recognizable, most of the features he's edited in the past decade are: Eat Drink Man Woman, The Ice Storm, Sense and Sensibility and Crouching Tiger, Hidden Dragon are four of Squyres' collaborations with director Ang Lee.
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Tough Love
Sam Jackson tames Christina Ricci-and Amy Vincent catches it all on film-in Craig Brewer's Black Snake Moan
After riding an unexpected wave of success with their debut collaboration, Hustle & Flow, writer-director Craig Brewer and cinematographer Amy Vincent are partnering up again, this time on Black Snake Moan, an unconventional "coming of age" story in which an aging blues musician helps to cure a young nymphomaniac of her sexual addiction.
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Things We’ve Learned as Moviemakers
Writing with a sibling is a unique collaboration. Because we share similar backgrounds and experiences, there is a kind of unspoken communication between us that can save time.
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13 Conversations About Writing
The Multiple Storyline, Sisterhood and Aristotle, for Starters: An Interview with Jill and Karen Sprecher
Five years after their triumph at Sundance with Clockwatchers, sisters Jill and Karen Sprecher have re-emerged with 13 Conversations About One Thing, an extraordinary film that explores the dramatic impact strangers can have on one another.
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What I’ve Learned as a MovieMaker
Don't stop working. For me, moviemaking is practice that makes you better but never perfect.
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The New School’s Truth, Whole Truth and Nothing But the Truth
The New School is about to graduate its first Documentary Studies class-and is gearing up for year two
Box office receipts confirm what The New School's assistant chair for documentary studies Annie Howell already knows: "Documentaries are hot!" This current trend toward truth in moviemaking has prompted the New York City-based university to create an all-new Certificate in Documentary Media Studies, a one-year, full-time, graduate-level program.
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A Few Minutes with William (Bill) Lustig
Lustig speaks with MM about his career and what it takes to stay at the top of the moviemaking game over the long term.
Bill Lustig has been appreciated by the French as a director with a unique, unflinching cinematic eye for years. At home in L.A., he?s best known as a cult midnight moviemaker who has crafted some of the most fun, frightening, gory films of the ?80s, including Maniac, Vigilante, and Relentless. Intelligent, articulate and intimidatingly well-steeped in film lore, the hardworking Lustig recently began a new career as a film restorer and DVD producer with Anchor Bay Entertainment.
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Indie Movie Guide
Reviews of some of the independent film world's newest independent films
Reviews of The Adventures of Prince Achmed,
Surfing for Life and Cipher in the Snow.
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World [Record] Cinema
A Conversation with Ft. Lauderdale International Film Festival President Gregory von Hausch
Founded in 1986, the Fort Lauderdale International Film Festival
now holds the title for the world's longest film festival
clocking in last October at 28 days. Festival President and
CEO, Gregory von Hausch, came aboard as FLIFF's Executive
Director in 1989, and has been helping to build its reputation
as one of the country's preeminent regional festivals ever
since.
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Things I’ve Learned as a Moviemaker
I think I've learned to be a bit more diplomatic, although I'm not sure if that's true (laughs). Maybe I've learned not to care so much about what people think. What you really need to learn is that the film is not made on the first day of shooting. It's a long haul. You need to pace yourself over the course of a film.
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Shooting Life
DP Roger Deakins talks about what's important and his collaboration with the Coen Brothers
The sheer number of excellent films Roger Deakins has shot
since his career began in the late 1970s is impressive by
any standard. He is one of the most celebrated cameramen in
Hollywood, and a regular collaborator with Joel and Ethan
Coen. Deakins has worked with some of the most interesting
directors in the business, including David Mamet, Mike Figgis,
Frank Darabont, John Sayles and Martin Scorsese. His most
recent work can be seen in the Oscar-winning film, A Beautiful
Mind, as well as the Coens' The Man Who Wasn't There.
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Things We’ve Learned as Moviemakers
Decisiveness. Confidence. Being able to set your ego aside, because an editor doesn't always get stroked a lot. Most things you hear are criticisms. So you need to have a thick skin and not take things personally. That's a crucial thing for an editor to learn.
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Hill and Hanley: Twenty Years of Continuity
Ron Howard's editors discuss their longstanding collaboration
Film editors Mike Hill and Dan Hanley have a lot to celebrate
these days, including the fact that their baby, A Beautiful
Mind, just won the Best Picture Oscar. This prolific duo
of veteran cutters just marked their 20-year anniversary as
partners in the cutting room, almost exclusively for director
Ron Howard.
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Things I’ve Learned as a Moviemaker
I didn't realize until years later that my college experience was not like others. SUNY Purchase at least in the era that I attended was a haven for weirdo artists and misfits. It was originally conceived as a state university for the arts, so freaks were the normal people, no frat boys or rich brats. It was a very healthy place to be in that regard. And there's a pretty vast network of Purchase mafia that continue to work together, live together, drink together...
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Tales From Margaritaville
An Interview With Margarita Happy Hour Director Ilya Chaiken
Writer-Director Ilya Chaiken plunged into her first independent
feature, Margarita Happy Hour, even before she found
financing. Set within the community of downtown artists now
relocated to Brooklyn, Margarita Happy Hour is a richly
detailed, funny and unsparing glimpse at motherhood on the
fringe. Chaiken, a single mom herself, first received attention
for her acclaimed short film, The Actress, a festival
favorite later broadcast on PBS.
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Things I’ve Learned as a MovieMaker
The process of each actor is different. Some are intuitive, some love to rehearse, some hate to rehearse. In some instances, you may want to rehearse even when they don't want to; it's just a matter of them understanding the process. Actors are so exposed. Directors are behind the camera crafting our world while the actors are exposed in front of the camera, exposed with their emotions. It's a matter of finding the best atmosphere for them to work.
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From Mexico to Hollywood and Back
Writer-Director Alfonso Cuarón discusses Y Tu Mama Tambien
Alfonso Cuarón's Y Tu Mama Tambien is a film
set in Mexico about two young men on the cusp of manhood who
take up one summer with a beautiful young woman several years
their senior. A sexy road movie with a dispassionate, often
blunt take on modern day Mexican social and political realities,
Cuarón's latest work showcases his off-the-cuff visual
and narrative style that nearly got him banned by Mexican
censors.
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Indie Movie Guide
Reviews of some of the independent film world's newest independent films
Reviews of Emily Hubley's Pigeon (and more) From Within, Frederick Wiseman's High School II, Beret E. Strong and John Tweedy's Iwo Jima: Memories in the Sand; and Carl-Gustaf Nykvist's Light Keeps Me Company.
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Now, More Than Ever-The Power of Film
A Conversation with Avignon Festival Director Jerome Rudes
Though born and educated in Texas, Jerome Rudes' entrepreneurial
spirit first took hold when he created the French-American
Film Workshop in Avignon, France 19 years ago. Today, that
event continues to prosper—though it's now known as the
Avignon Film Festival—and its American sister fest, The
New York Avignon Film Festival, continues to stand as one
of New York City's film festival highlights.
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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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In Theaters Now: Hancock & The Wackness
This July 4th weekend box office demonstrates what America is all about: Big superheros and movie stars battling it out against a potential independent gem.
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