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Food Film Festivals
By Nancy Rosenbaum
A new wave of film festivals are taking the tried and true "dinner and a movie" combo to a whole new level.
Cook Up Your Own Food Film Festival
By Nancy Rosenbaum
Have you got a hankering to cook up a food and film festival close to home? Here’s some handy information about the dollars and cents you’ll need to make it all happen.
Mixed Reviews: Guilty Pleasures
By Travis Crawford
From 1970s Euro sleaze to Italian Neorealist classics, it's time to admit some guilty pleasures. DVD and book reviews.
Virginia’s Indie Film Revolution
By Jennifer M. Wood
Whether you’re aiming to make the next Revolutionary War epic or just need a film-friendly rural locale for your low-budget indie, Virginia will welcome you with open arms. Here, a few members of VA’s independent movie community weigh in on why the commonwealth is a great place to shoot.
Master of the Movie Prop
By Brian Malik
Just about anything an actor touches in a film that isn’t nailed down is a prop. Props serve to enhance a character’s backstory, improve the look of a location or, in the case of fake projectile vomit, simply gross out the audience. The talented artists who furnish the canvas of cinema with their treasures are called property masters. MM spoke with Kevin Hughes, an industry veteran who began his career as an assistant on Apocalypse Now, and more recently has worked on such films as Boogie Nights, Borat and Bobby.
Classic Movie Title Sequences
By Peter Weed
Take a closer look at some of the most memorable title sequences of the past few years.
Using Movie Title Sequences Effectively
By Peter Weed
Released in the mid-1950s from the relatively static role of simply assigning credit, title sequences have evolved into an art form in their own right.
Neil Jordan's Golden Rules of Moviemaking
By Neil Jordan
"Never tell the truth on a junket" and other lessons from the director of The Brave One and Interview with the Vampire, Neil Jordan.
All the Right Moves: Stabilizing Your Camera
By Matthew Power
Not every director likes to move the camera. Some simply can’t afford it. Go back and look at Kevin Smith’s Clerks, for example. Almost every shot in that movie was a locked-down tripod shot—no movement at all. At the other extreme is Russian director Aleksandr Sokurov’s mind-blowing Russian Ark, an entire feature film shot in one continous, moving shot, featuring 2,000 actors in 33 different rooms.
Features: Julie Delpy's 2 Days in Paris
By Daniel Nemet-Nejat
After sharpening her multi-tasking skills with Richard Linklater, Julie Delpy is writing, directing, producing, editing, scoring and starring in her own take on cross-cultural romance with 2 Days in Paris.
Random Thoughts From the Set of Jeff Garlin's I Want Someone to Eat Cheese With
By Jeff Garlin
From soundless filming to nausea on the set, Jeff Garlin relives the experience of writing, directing and starring in his directorial debut, I Want Someone to Eat Cheese With.
Features: Silent Movies Are Still Creating an Echo
By Bob Mastrangelo
From Griffith and Eisenstein to Chaplin and Keaton, MM revisits the 15 greatest directors of the silent era.
Features: The Robert Rodriguez Effect
By Mallory Potosky
When it comes to getting an education in film, there is no such thing as a one-size-fits-all option. But apparently the same can’t be said for a film school’s “model moviemaker.”
Ethan Hawke Grows Up in The Hottest State
By Ethan Hawke
When I was 21 and under the influence of books like James Baldwin’s Go Tell It on the Mountain, Jack Kerouac’s The Subterraneans and Larry McMurtry’s All My Friends Are Going to Be Strangers, I started writing a wildly autobiographical piece of fiction about my experiences upon arriving in New York. I wanted to write about trying to “make it” as an actor and centered the story on a soul-crushing, identity-defining encounter with first love.
Features: John Carpenter’s Business of Insanity
By Jason Matloff
In Hollywood these days, it sometimes seems easier to find an actor who’ll admit to having had plastic surgery than it is to find an original idea for a movie. Case in point: Legendary horror director John Carpenter.
Features: Halloween, Too
By Mallory Potosky
Given his predilection for stepping behind the lens it shouldn’t have been a surprise when Rob Zombie announced his foray into feature moviemaking with 2003’s House of 1000 Corpses. But Zombie remaking John Carpenter’s hallowed horror classic, Halloween? That announcement did shock some people… including Zombie himself.
Features: David Levien & Brian Koppelman: Ocean’s Two
By Kevin Canfield
Brian Koppelman and David Levien are among the movie business’ most sought-after screenwriters. If all falls into place, they’ll soon be turning their attention to scripts for Robert De Niro (he’ll reportedly star in the Koppelman/Levien-penned mafia tale The Winter of Frankie Machine) and Brian De Palma (the would-be director of a prequel titled The Untouchables: Capone Rising).
Notebook: Moviemaking: The Eternal Balancing Act
By Timothy Rhys
Jodie Foster: The Brave One
By Kevin Canfield
An Oscar nominee at 14 and still at the top of her game after more than four decades, Jodie Foster knows how to get what she wants--like director Neil Jordan and a killer script for her latest thriller, The Brave One.
The Signal: A Collaboration in Three Parts
by Dan Bush, David Bruckner and Jacob Gentry
A hit at Sundance, The Signal offers a new chapter in the world of cinematic collaboration as three directors each take a turn in the director's chair.
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