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Issue #2011 [Spring 2011]

Greg Mottola Enters Alien Territory with Paul
by Aaron Hillis
When Greg Mottola, the New York-based moviemaker behind such naturalistic, character-driven comedies as Superbad, Adventureland and The Daytrippers, was asked by Shaun of the Dead co-creators Simon Pegg and Nick Frost to direct Paul, their “pop culture mash-up” homage to the golden age of sci-fi blockbusters, even Mottola admits he wasn’t the most obvious guy for the job.

Take 10: Danny McBride
By Jennifer M. Wood
“Somewhere between Porky’s and Goodfellas” is when Danny McBride realized he wanted to be a moviemaker. Though he got his start in more serious-minded fare as a second unit director on fellow University of North Carolina School of the Arts alum David Gordon Green’s George Washington, the writing was on the wall for this would-be wiseass, whose first credited acting role is the character of “Bust-Ass” in Green’s All the Real Girls.

Wes Craven Screams Anew
By Bryan Reesman
He has unleashed incredibly influential horror films over the last four decades, including The Last House on the Left, A Nightmare On Elm Street and Scream. His movies have resonated with audiences not only because they tap into our primal fears, but also because they often dip into the mainstream zeitgeist and hit upon social issues. His excursions into fright films have inspired many to label him “The Master of Horror.” In recent years Wes Craven has taken some time off from directing, but even though some are calling last fall’s My Soul to Take and the upcoming Scream 4 a “comeback,” in truth he never really went away. But times have certainly changed.

A Film in the Crowd
by Paul Osborne
It’s always been hard to find the money to make a movie. Investors have forever been scarce, but in today’s toxic economic climate, they’re almost nonexistent. Then along came crowdfunding, viewed by many as the great financial hope for independent cinema. Crowdfunding takes a page from the age-old idea of pre-selling a movie, but instead of regional distributors in foreign territories purchasing the rights in advance of principal photography, the moviemaker is pre-selling directly to his or her potential audience. Such pre-sales are then used, in whole or in part, to fund the making of the film.