tag:blogger.com,1999:blog-63637270838579610042023-11-15T23:15:35.481-08:00THE NEW GORILLACoherent ramblings on the art of indie filmmaking, with frequent rumbas into slices of life; both whole grain and white.Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.comBlogger193125tag:blogger.com,1999:blog-6363727083857961004.post-75720366282641489832017-12-16T07:23:00.002-08:002017-12-16T07:23:13.921-08:00<br /><a href="https://www.amazon.com/gp/video/detail/B075SL2QWJ/ref=dv_web_wtls_list_pr_17">https://www.amazon.com/gp/video/detail/B075SL2QWJ/ref=dv_web_wtls_list_pr_17</a><br />
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New short film!Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-74137334781050480732017-12-15T19:40:00.002-08:002017-12-15T19:40:30.502-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkdgBDnHoJLzsf7JK5PjPU4PCbefIOvy0GVha222I1sSknQwFnr3ElgDsS7V6c8jagIoUdMrfwfFZvkrul6VBzioCYU0LjF8IkmVXmZ_DClhpLo0RS29wjcpZOKnMY_am7_owWx-qbDt0/s1600/JD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkdgBDnHoJLzsf7JK5PjPU4PCbefIOvy0GVha222I1sSknQwFnr3ElgDsS7V6c8jagIoUdMrfwfFZvkrul6VBzioCYU0LjF8IkmVXmZ_DClhpLo0RS29wjcpZOKnMY_am7_owWx-qbDt0/s320/JD.jpg" width="213" /></a></div>
Looking for a great read? Go for this - Joan Didion is a poet of the extreme order.Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-31073024135810194992015-05-14T06:55:00.003-07:002015-05-14T06:55:33.241-07:007 WAYS TO MAXIMIZE YOUR DISTRIBUTION - by Peter BroderickSome interesting facts and ideas here on distribution strategy. These four plans of attack in particular:<br />
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<li><span style="font-family: verdana, geneva; font-size: 14pt;">Core over general audiences</span></li>
<li><span style="font-family: verdana, geneva; font-size: 14pt;">Conferences over film festivals</span></li>
<li><span style="font-family: verdana, geneva; font-size: 14pt;">Partnerships over distribution deals</span></li>
<li><span style="font-family: verdana, geneva; font-size: 14pt;">Direct over third party sales</span></li>
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<span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;">How did </span><a href="http://ageofchampions.org/" rel="nofollow" style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;" target="_blank" title="Age of Champions Website"><span style="font-weight: bold;">AGE OF CHAMPIONS</span></a><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;"> succeed where countless other documentaries have failed? The film has been seen by more than 3 million viewers and has grossed over $1.2 million dollars.</span><br style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;" /><br style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;" /><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;">Produced by </span><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px; font-weight: bold;">Keith Ochwat</span><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;"> and directed </span><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px; font-weight: bold;">Christopher Rufo</span><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;">, AGE OF CHAMPIONS chronicles athletes who “sprint, leap, and swim for gold at the </span><a href="http://www.nsga.com/" rel="external" style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;" target="_blank" title="NSO Website">National Senior Olympics</a><span style="background-color: white; font-family: verdana, geneva; font-size: 18.6666660308838px;">.” The film’s main characters range from 63 to 100 years old.</span><br />
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<span style="background-color: white; font-family: verdana, geneva; font-size: 14pt;">AGE OF CHAMPIONS premiered at Silver Docs to standing ovations in 2011. The filmmakers developed and began testing their distribution strategy in 2012 and did their major rollout in 2013. This featured a 20 state theatrical tour underwritten by <a href="http://www.aarp.org/" rel="external" target="_blank" title="AARP Website">AARP</a></span><span style="background-color: white; font-family: Helvetica, Arial, sans-serif; font-size: 16px;"><span style="font-family: verdana, geneva; font-size: 14pt;">, which generated substantial press coverage, including appearances on NPR, CNN, and ABC.</span></span><br />
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<span style="font-family: verdana, geneva;"><span style="background-color: white;"><i><span style="font-size: 18.6666660308838px;">To read full article:</span></i></span></span><br />
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<span style="font-family: verdana, geneva;"><span style="background-color: white; font-size: 18.6666660308838px;"><i><a href="http://paradigmconsulting.fanbridge.com/campaigns/show.php?id=1174468&sid=186551875">http://paradigmconsulting.fanbridge.com/campaigns/show.php?id=1174468&sid=186551875</a></i></span></span>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-91232381007570199772015-05-11T07:14:00.000-07:002015-05-11T07:14:12.706-07:00Satyajit Ray<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOJNsfJ6X-hay3XlgVRlDEt6AgQ7PDWb6VU1OsVmCLXhNcb51WNf0HeD-3epjYW4sTE4kD20erMzyb54NlDqwbF7PxzF235Cpk_dsXF0FDlISJyOn8ixz0uDQYk7SdWPAnXeJIVHbxqiXI/s1600/apu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOJNsfJ6X-hay3XlgVRlDEt6AgQ7PDWb6VU1OsVmCLXhNcb51WNf0HeD-3epjYW4sTE4kD20erMzyb54NlDqwbF7PxzF235Cpk_dsXF0FDlISJyOn8ixz0uDQYk7SdWPAnXeJIVHbxqiXI/s320/apu.jpg" width="320" /></a></div>
<span style="background-color: white; color: #333333; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;">John Huston and </span><a class="meta-per" href="http://movies.nytimes.com/person/107687/Satyajit-Ray?inline=nyt-per" style="background-color: white; color: #326891; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;" title="">Satyajit Ray</a><span style="background-color: white; color: #333333; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;">. One might not think these two major directors had similar taste in movies. In the 1950s, Huston made “The African Queen” and “Moby Dick”; Ray made the three films generally known as the Apu Trilogy: the epic story of Apu, a boy born in a village in India who struggles for education and recognition as a man in the cosmopolitan city of Calcutta (now Kolkata). Yet, when I was writing a biography of Ray in the 1980s, Huston sent me a letter about Ray and his work. “I recognized the footage as the work of a great filmmaker,” he wrote. “I liked Ray enormously on first encounter. Everything he did and said supported my feelings on viewing the film.”</span><br />
<span style="background-color: white; color: #333333; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;"><br /></span>
<span style="background-color: white; color: #333333; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;">For full article and video clips:</span><br />
<span style="background-color: white; color: #333333; font-family: georgia, 'times new roman', times, serif; font-size: 16px; line-height: 23px;"><br /></span>
<span style="background-color: white; line-height: 23px;"><span style="color: #333333; font-family: georgia, times new roman, times, serif;">http://www.nytimes.com/2015/05/10/movies/restored-apu-trilogy-returns-satyajit-rays-humane-work-to-theaters.html?_r=0</span></span>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-57149051564789869602015-05-07T14:32:00.004-07:002015-05-07T14:32:45.030-07:00Happy 100th Birthday Orson Welles!<div class="separator" style="clear: both; text-align: left;">
What a better way to celebrate the big O - with my friend F.X. Feeney running the show:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEqxVKtLmfulIdm7vR14uWr18al6EkNezjaxDRmECRKoNBrJuT9wx_wAL1a1bAHOjJFtWAjhYEVKmJHL9i8G2w3Ojwf5FB2M9GfWai1qarJY7R4O8rQ5Y39YzHIYTUBBrAIZskrAzFrCec/s1600/wells.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEqxVKtLmfulIdm7vR14uWr18al6EkNezjaxDRmECRKoNBrJuT9wx_wAL1a1bAHOjJFtWAjhYEVKmJHL9i8G2w3Ojwf5FB2M9GfWai1qarJY7R4O8rQ5Y39YzHIYTUBBrAIZskrAzFrCec/s320/wells.jpg" width="320" /></a></div>
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<span style="color: #006084; font-family: Helvetica, Arial, sans-serif; font-size: 22px; font-weight: bold; line-height: 1.1;">TOUCH OF GENIUS: ORSON WELLES AT 100</span></div>
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The word “genius” has been associated with Orson Welles (May 6, 1915 - October 10, 1985) nearly since his birth in Kenosha, Wisconsin. The son of a successful inventor and concert pianist, the future actor-director proved to be gifted in the arts as a child. The title was such a frequent refrain through his life that a 1940 Saturday Evening Post story joked, <em>“Orson was an old war horse in the infant prodigy line by the time he was 10. He had already seen eight years' service as a child genius. Some see the 24-year-old boy of today as a mere shadow of the 2-year-old man they used to know.”</em></div>
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Previous successes shadowed Welles for so long that some view his career solely through the prism of missed opportunity, allowing uncompleted works such as THE OTHER SIDE OF THE WIND to obscure a long string of triumphs. While his debut, <strong>CITIZEN KANE</strong>, is unquestionably a masterpiece of unusual lighting and camera angles, innovative use of sound and extended takes, so is <strong>TOUCH OF EVIL</strong>, made 17 years later. His Shakespeare adaptations, created without the support of a major studio, offer further testament to Welles’ continuing growth as an artist over the decades: From MACBETH (1948) to<strong>OTHELLO</strong> (1952) to <strong>CHIMES AT MIDNIGHT</strong> (1965), each was more impressive than the last.</div>
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Though it would have been wonderful if <strong>THE MAGNIFICENT AMBERSONS</strong> hadn’t been recut against his will, or if he’d gotten to direct CATCH-22 instead of simply acting in it, as it stands, Orson Welles’ body of work remains among the richest in cinema history.</div>
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Series also includes <strong>THE LADY FROM SHANGHAI</strong>, <strong>THE STRANGER</strong> and <strong>MAGICIAN: THE ASTONISHING LIFE AND WORK OF ORSON WELLES</strong>.</div>
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Series programmed by Gwen Deglise, Grant Moninger and John Hagelston. Program notes by John Hagelston.</div>
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F.X. Feeney will sign copies of his new book 'Orson Welles: Power, Heart, and Soul' and introduce each night in the series!</div>
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Films in this Series at the Aero</div>
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<span class="field-content"><img alt="" class="imagecache imagecache-thumbnail_184_114 imagecache-default imagecache-thumbnail_184_114_default" height="114" src="http://www.americancinemathequecalendar.com/sites/default/files/imagecache/thumbnail_184_114/stills_events_390_240/the_lady_from_shanghai_390.jpg" style="border: 0px none; margin: 0px; padding: 0px;" title="" width="184" /></span></div>
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<span class="field-content">Book Signing With F.X. Feeney!</span></div>
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<span class="field-content"><a href="http://www.americancinemathequecalendar.com/content/the-lady-from-shanghai-the-stranger" style="color: #006084; font-weight: bold; text-decoration: none;">THE LADY FROM SHANGHAI / THE STRANGER</a></span></div>
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<span class="field-content">Thu, May 7, 2015 - 7:30pm</span></div>
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<span class="field-content"><img alt="" class="imagecache imagecache-thumbnail_184_114 imagecache-default imagecache-thumbnail_184_114_default" height="114" src="http://www.americancinemathequecalendar.com/sites/default/files/imagecache/thumbnail_184_114/stills_events_390_240/citizenkane390_2.jpeg" style="border: 0px none; margin: 0px; padding: 0px;" title="" width="184" /></span></div>
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<span class="field-content">Book Signing With F.X. Feeney!</span></div>
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<span class="field-content"><a href="http://www.americancinemathequecalendar.com/content/citizen-kane-the-magnificent-ambersons-3" style="color: #006084; font-weight: bold; text-decoration: none;">CITIZEN KANE / THE MAGNIFICENT AMBERSONS</a></span></div>
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<span class="field-content">Fri, May 8, 2015 - 7:30pm</span></div>
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<span class="field-content">Aero Theatre</span></div>
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<div class="views-field-field-event-still-fid" style="margin-bottom: 11px;">
<span class="field-content"><img alt="" class="imagecache imagecache-thumbnail_184_114 imagecache-default imagecache-thumbnail_184_114_default" height="114" src="http://www.americancinemathequecalendar.com/sites/default/files/imagecache/thumbnail_184_114/stills_events_390_240/chimes_at_midnight_390.jpg" style="border: 0px none; margin: 0px; padding: 0px;" title="" width="184" /></span></div>
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<span class="field-content">Book Signing With F.X. Feeney!</span></div>
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<span class="field-content"><a href="http://www.americancinemathequecalendar.com/content/chimes-at-midnight-othello" style="color: #006084; font-weight: bold; text-decoration: none;">CHIMES AT MIDNIGHT / OTHELLO</a></span></div>
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<span class="field-content">Sat, May 9, 2015 - 7:30pm</span></div>
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<span class="field-content"><img alt="" class="imagecache imagecache-thumbnail_184_114 imagecache-default imagecache-thumbnail_184_114_default" height="114" src="http://www.americancinemathequecalendar.com/sites/default/files/imagecache/thumbnail_184_114/stills_events_390_240/touchofevil390_0_0.jpg" style="border: 0px none; margin: 0px; padding: 0px;" title="" width="184" /></span></div>
<div class="views-field-field-write-event-attribute-value" style="color: #006084; display: inline; float: left; font-family: Helvetica, Arial, sans-serif; font-size: 11px; font-stretch: normal; font-style: italic; line-height: 1.2; padding-bottom: 6px; padding-right: 3px;">
<span class="field-content">Book Signing With F.X. Feeney!</span></div>
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<span class="field-content"><a href="http://www.americancinemathequecalendar.com/content/touch-of-evil-magician-the-astonishing-life-and-work-of-orson-welles" style="color: #006084; font-weight: bold; text-decoration: none;">TOUCH OF EVIL / MAGICIAN: THE ASTONISHING LIFE AND WORK OF ORSON WELLES</a></span></div>
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<span class="field-content">Sun, May 10, 2015 - 7:30pm</span></div>
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<span class="field-content">Aero Theatre</span></div>
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<span class="repeat_theatre_text" style="text-transform: capitalize;">Aero Theatre</span> • <span class="date-display-start">Thu, May 7, 2015</span><span class="date-display-separator"> - </span><span class="date-display-end">Sun, May 10, 2015</span></div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-15662200527967074702015-04-24T09:50:00.001-07:002015-04-24T09:50:25.245-07:00Cassavetes<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqDOkJxyt_eH8j16X7Me4BYMFLy9jc7XaIE8u1c1jXX8OHZeDKYkWxbPYa9IyBJPjEYd6vJfZQeGSVjO71yrgOPDLfo-bTs1KnlQHu9JQLphyrzLurj-o9pxHbdFn5fDcf8JfT_vHW47S/s1600/cass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqDOkJxyt_eH8j16X7Me4BYMFLy9jc7XaIE8u1c1jXX8OHZeDKYkWxbPYa9IyBJPjEYd6vJfZQeGSVjO71yrgOPDLfo-bTs1KnlQHu9JQLphyrzLurj-o9pxHbdFn5fDcf8JfT_vHW47S/s1600/cass.jpg" height="640" width="374" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-70851051645087712242015-04-21T19:44:00.002-07:002015-04-21T19:44:36.660-07:00Vimeo Hit Series ‘High Maintenance’ Leaving the Web for HBOAnother reason to create your own content:<br />
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HBO has acquired the popular online series, “High Maintenance,” which first launched on Vimeo in 2013 free of charge. Last year, creators Ben Sinclair and Katja Blichfeld partnered with the streaming service to offer the second season exclusively via Vimeo On Demand, and it quickly became a top seller on the VOD service. For now, viewers can still watch the dramedy without paying for HBO, since the first 13 episodes are streaming free of charge and the most recent six episodes are available on demand for $2 each.<span id="more-90976"></span></div>
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“For HBO to pick up the next season is a testament to this incredible show and we look forward to continuing to support it,” said Vimeo CEO Kerry Trainor.</div>
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Full article:</div>
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<a href="http://www.etcentric.org/vimeo-hit-series-high-maintenance-leaving-the-web-for-hbo/">http://www.etcentric.org/vimeo-hit-series-high-maintenance-leaving-the-web-for-hbo/</a></div>
<br />Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-76702089426218257272015-04-13T11:35:00.003-07:002015-04-13T11:45:58.355-07:00blocking and camera(inspired)Yes - this clip is an amazing example of great blocking and use of camera. From the master <b>Andrei Tarkovsky</b> - a scene from <i>Ivan's childhood.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGhw2g2MxJHo_SxAy2fjIqTfdlc1ZgIf2aY0aexF4Bbu6NzgfuR6OhQmnjl9JFeT0LjwCiN-J_e-legkozI_r4lj18Ok_Zkc1Cdy8AdRwxaj_3Sugk67F14_9w5g67ILHJUmJfjSoEEcm/s1600/tark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGhw2g2MxJHo_SxAy2fjIqTfdlc1ZgIf2aY0aexF4Bbu6NzgfuR6OhQmnjl9JFeT0LjwCiN-J_e-legkozI_r4lj18Ok_Zkc1Cdy8AdRwxaj_3Sugk67F14_9w5g67ILHJUmJfjSoEEcm/s1600/tark.jpg" height="321" width="400" /></a></div>
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A total of eight shots. The camera doesn't always move, but when it does, it does with purpose. The action of the characters is so intriguing. Engaging. Her climbing the angled tree, then the kiss - straddling a wide gap in the earth. Incredible - and how the camera records this - moving down - to increase the tension.<br />
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It doesn't get better. Watch and learn. Character is action, action is character.<br />
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<a href="https://www.youtube.com/watch?v=1plWZqqVbr0">https://www.youtube.com/watch?v=1plWZqqVbr0</a>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-80289895079113044662015-04-01T07:26:00.002-07:002015-04-01T07:26:41.488-07:00watch this amazing opening of a feature film<i>Walkabout </i>has been on my must watch list for years, and I've finally made the plunge. What a unique experience. The photography is incredible, the story, the tone, the feel. Perhaps most striking is the editing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRr3N9-ZCpviKUQ5zxAiYQf5T71dJVLeHz61BU_wB4NjC8BqINw17TTW8EAtgRxF4uH99jLTKN6X54jnskWZLU7raze10eys8keWg1SzSrIkzZ9ABmfFCpeEX_8bkuahCKrGI7lMeExR0/s1600/walkabout-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWRr3N9-ZCpviKUQ5zxAiYQf5T71dJVLeHz61BU_wB4NjC8BqINw17TTW8EAtgRxF4uH99jLTKN6X54jnskWZLU7raze10eys8keWg1SzSrIkzZ9ABmfFCpeEX_8bkuahCKrGI7lMeExR0/s1600/walkabout-1.jpg" height="160" width="320" /></a></div>
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Watch the opening - so unique, so engaging:<br />
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<a href="https://www.youtube.com/watch?v=UKWARDEyIuk">https://www.youtube.com/watch?v=UKWARDEyIuk</a>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-52072611477507343332015-03-28T12:53:00.001-07:002015-03-28T12:53:31.537-07:00great advise for young filmmakers by Robert downey Sr.Get it done. Do it yourself. With your friends. Forget the system. Just make a film!<br />
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Don't send your scripts around for funding. Write something cheap - few characters, few locations. Make it.<br />
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<a href="https://www.youtube.com/watch?v=HZnVfKmuqk0">https://www.youtube.com/watch?v=HZnVfKmuqk0</a>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-82026333514967243292015-03-16T14:18:00.003-07:002015-03-16T14:18:54.352-07:00key to becoming a successful and fulfilled independent filmmakerI couldn't agree more with the advise here, hence the New Gorilla. If you don't have actors that can "open" your movie, make it with the least amount of money you can. And have something to say!<br />
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The key to becoming a successful and fulfilled independent filmmaker is shooting films on your mobile phone for $3 and never giving in to the temptation of studio schmaltz, according to Mark Duplass, the co-creator of Togetherness.</div>
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In his keynote speech at SXSW in Austin, the filmmaker outlined his step-by-step survival guide for young directors who don’t want to compromise in order to get their films made.</div>
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“The first step is the $3 short film,” he said. “We’re in a place now where technology is so cheap that there’s no excuse for you not to be making films on the weekends with your friends, shot on your iPhone – we had a feature film at Sundance this year <a class=" u-underline" data-component="in-body-link" data-link-name="in body link" href="http://www.theguardian.com/film/2015/jan/25/sundance-2015-review-tangerine-iphone-film-movie" style="-webkit-transition: border-color 0.15s ease-out; background: transparent; border-bottom-color: rgb(220, 220, 220); border-bottom-style: solid; border-bottom-width: 0.0625rem; color: #005689; cursor: pointer; text-decoration: none !important; transition: border-color 0.15s ease-out;">that was shot entirely on iPhones</a> and it did really well.”</div>
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He explained that along with his brother Jay, he had lived in Austin, working as an editor, before saving enough money to make their first feature film, Vince Del Rio, which cost $65,000 and was, in his words, “a steaming pile of dog diarrhea”.</div>
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Despite the film tanking, the brothers decided to take a lo-fi approach with their next film, The New Brad, which was shot on their parents’ dysfunctional video camera, cost $3 and ended up at SXSW and Sundance.</div>
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“It changed everything for us,” said Duplass. “Because it really doesn’t matter what your movie looks like – because if you have a voice and something interesting to say they will like you and they will program you.”</div>
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He recommended making a $3 film every weekend with “your smartest group of friends”, made up of four or five people including a charismatic lead actor. Detailing his approach further, he said the film should be one scene, five minutes, ideally comedic and/or short – “because they program well at festivals” – and he warned filmmakers to be prepared for failure. Despite that, he insisted that being myopic and inward-looking when making one’s first films was definitely a good thing.</div>
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“At the risk of saying you should make a self-indulgent film for your first movie: you should make a self-indulgent film for your first movie.”</div>
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Other advice for would-be filmmakers included having a really strong day job (he recommended being a Spanish or Mandarin translator because of the demand and high pay), and saving money in order to travel and submit short films to film festivals.</div>
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Turning down money offered by agents – “to avoid being stuck in development for five years” – shooting on mobile devices and asking friends and colleagues for favours were all recommended by Duplass, who called his approach “the available materials school of filmmaking”.</div>
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<a href="http://www.theguardian.com/film/2015/mar/15/mark-duplass-south-by-southwest-sxsw?CMP=share_btn_fb">http://www.theguardian.com/film/2015/mar/15/mark-duplass-south-by-southwest-sxsw?CMP=share_btn_fb</a></div>
Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-64153936004073577372015-03-09T12:47:00.000-07:002015-03-09T12:47:30.393-07:00Mark Ruffalo On Casting Rejection: “I Was Rejected 600 Times Before I Booked A Role”<div style="background: rgb(255, 255, 255); border: 0px; color: #555555; font-family: sans-serif; font-size: 16.6666679382324px; font-stretch: normal; line-height: 25px; margin-bottom: 1.4em; outline: 0px; padding: 0px; vertical-align: baseline;">
He has been The Hulk in The Avengers, a memory eraser in Eternal Sunshine of the Spotless Mind, and a multitude of other roles in fan favourites like Shutter Island, Zodiac, Collateral, and <a href="http://www.imdb.com/name/nm0749263/" style="background: transparent; border: 0px; color: #4081af; font-size: 16.6666679382324px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Mark Ruffalo IMDB ">loads more</a>.</div>
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Like many celebrities Mark Ruffalo has faced continuous rejection. He persevered, and ended up working opposite industry favourite actors, in some of Hollywood’s biggest films. Ruffalo’s perseverance alone was not what kept him in the game and coming back for more auditions – apparently his mother told him that he ‘…couldn’t do anything else” and “if I tried to quit she wouldn’t speak to me again.”</div>
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‘It’s been mythologized now but it started with about <a href="http://metro.co.uk/2012/04/19/avengers-star-mark-ruffalo-reveals-big-break-came-after-600-rejections-395524/" style="background: transparent; border: 0px; color: #4081af; font-size: 16.6666679382324px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Metro.co.uk">600 auditions</a> without success,’ he said about his long slog to stardom. ‘Most smart people would have quit when it takes that long.’</div>
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A key part of being an actor is managing rejection. It’s all about being professional, not taking the rejection personally, and moving on quickly to prepare for your next opportunity.</div>
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There is nothing gained by feeling terrible over spilled milk, or a botched audition. Keep moving forward, and you never know what can happen – you may just pull a Mark Ruffalo.</div>
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For more, go to Casting workbook: </div>
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<a href="http://connect.castingworkbook.com/blog/2015/02/13/mark-ruffalo-on-casting-rejection-i-was-rejected-600-times-before-i-booked-a-role/">http://connect.castingworkbook.com/blog/2015/02/13/mark-ruffalo-on-casting-rejection-i-was-rejected-600-times-before-i-booked-a-role/</a></div>
Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-51642043908386420092015-03-04T12:26:00.000-08:002015-03-04T12:26:22.073-08:00Alejandro G. Inarritu on making Birdman<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px;">"Fear is the condom of life; it doesn't allow you to enjoy things. I did it without, and this was the result; it was real. It was making love."</span><br />
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<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8000001907349px;"><br /></span>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-6333903419861038012015-03-02T07:10:00.002-08:002015-03-02T07:10:10.089-08:00David Fincher's Advice to Young Filmmakers<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-66cOMcAIN-_7tsv3KfI8edj7CuT979AfS8SN6Lvb4XIyPC0PpGptpk4WZIGyP2wtfezeF2Uvlro-N3Q-rq16_yZ4ZnsJgpnRtHhywKMqvuHsPJ6Q0pfnZl9XP91IeSm7f6RqXyfiRon/s1600/Txlm4gn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc-66cOMcAIN-_7tsv3KfI8edj7CuT979AfS8SN6Lvb4XIyPC0PpGptpk4WZIGyP2wtfezeF2Uvlro-N3Q-rq16_yZ4ZnsJgpnRtHhywKMqvuHsPJ6Q0pfnZl9XP91IeSm7f6RqXyfiRon/s1600/Txlm4gn.jpg" height="640" width="478" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-10629576981336391382015-02-25T18:56:00.001-08:002015-02-25T18:56:18.877-08:00Innovation is rewarded<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgVe5N2ZfBjn7mJWoAoVAF3MXjM0UWUjCU1G5Z4i8BUqA7SP2SerTV8FI2tX9z6zH7Xpu0paOdqceLE_NIF9TvNLYkKbwXZz7nIKenKehIxvu6Lo9lAqtQsPMMGcsa7PFFqZnYzMZbT_hQ/s1600/Birdman-movie-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgVe5N2ZfBjn7mJWoAoVAF3MXjM0UWUjCU1G5Z4i8BUqA7SP2SerTV8FI2tX9z6zH7Xpu0paOdqceLE_NIF9TvNLYkKbwXZz7nIKenKehIxvu6Lo9lAqtQsPMMGcsa7PFFqZnYzMZbT_hQ/s1600/Birdman-movie-poster.jpg" height="320" width="176" /></a></div>
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How seldom does the Academy reward the most innovative? Reward a film that took in something like 40 million at the domestic box office? Not too often, and I'll say the preverbal <i>bravo!</i><br />
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Seriously, if innovation is rewarded in our profession of cinema, instead of what makes the most money, don't you think this will encourage more innovation to come? Sure it will. The Oscars is a big, shining ball of sun , and if it gives its sunshine to smaller, more innovative films, the up and coming filmmakers will want some of that sunshine as well. Like little green plants bending towards the light.<br />
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<i>BIRDMAN</i> is filled with light. With a creative force. Let's hope we see more.Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-45025791025917363962015-02-21T09:23:00.002-08:002015-02-21T09:25:57.515-08:00Download scripts to this years Oscar nominees Great site @ thefilmstage.com where free PDF's of many recent feature scripts are available. Below is a partial list and links:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-dCDp0gpKBn8KLASbzQDLOnXQFO7-2DriKz3211oXM75VCCLWfLB82mi9s0z8iZ0UN4oYJSl1oo2uOjh38KVyjmIeayfmtm3Y5cFVltUB1mP3d2kjcqJYklqT5Z5mTHtbV87QfAEBFve/s1600/a1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp-dCDp0gpKBn8KLASbzQDLOnXQFO7-2DriKz3211oXM75VCCLWfLB82mi9s0z8iZ0UN4oYJSl1oo2uOjh38KVyjmIeayfmtm3Y5cFVltUB1mP3d2kjcqJYklqT5Z5mTHtbV87QfAEBFve/s1600/a1.jpg" height="240" width="320" /></a></div>
<span style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em;">As was the case </span><a href="http://thefilmstage.com/news/download-over-30-screenplays-from-2013-including-the-wolf-of-wall-street-12-years-a-slave-gravity-more/" style="color: #ff9900; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; outline: 0px;">last year</a><span style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em;">, one of the few benefits of the frenzied awards race is Hollywood’s outpouring of materials associated with the contenders. Perhaps the biggest perk is the release of full scripts one is able to download legally, directly from the studios. By the end of the year we’ll have dozens available, but today we have the first out of the gate.</span><br />
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<a href="http://thefilmstage.com/news/download-screenplays-for-gone-girl-the-theory-of-everything-and-more/" style="font-size: 16.6666679382324px; line-height: 1.5em;">http://thefilmstage.com/news/download-screenplays-for-gone-girl-the-theory-of-everything-and-more/</a></div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://static.squarespace.com/static/524c79fae4b061d170a7c598/t/5482063ee4b02b4352e75fa4/1417807422481/AMVY+Script.pdf" style="color: #ff9900; outline: 0px;">A Most Violent Year</a></strong></em> (<strong style="font-style: inherit;">J.C. Chandor</strong>; A24)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://pdl.warnerbros.com/wbmovies/awards2014/pdf/as.pdf" style="color: #ff9900; outline: 0px;">American Sniper</a></strong></em> (<strong style="font-style: inherit;">Jason Hall</strong>; Warner Bros)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://d97a3ad6c1b09e180027-5c35be6f174b10f62347680d094e609a.r46.cf2.rackcdn.com/film_scripts/FSP3827_BELLE_SCRIPT_BOOK_C6a.pdf" style="color: #ff9900; outline: 0px;">Belle</a> </strong></em>(<strong style="font-style: inherit;">Misan Sagay</strong>; Fox Searchlight)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://twcguilds.com/assets/downloads/ScreenplayBigEyes.pdf" style="color: #ff9900; outline: 0px;">Big Eyes</a></strong></em> (<strong style="font-style: inherit;">Scott Alexander</strong> and <strong style="font-style: inherit;">Larry Karaszewsk</strong>i; The Weinstein Company)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://d97a3ad6c1b09e180027-5c35be6f174b10f62347680d094e609a.r46.cf2.rackcdn.com/film_scripts/FSP3823_BiRDMAN_MINI_SCRIPT_BOOK_C5.pdf" style="color: #ff9900; outline: 0px;">Birdman</a></strong></em> (<strong style="font-style: inherit;">Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr.</strong>and<strong style="font-style: inherit;"> Armando Bo</strong>; Fox Searchlight)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://focusguilds2014.com/workspace/media/boxtrolls-screenplay.pdf" style="color: #ff9900; outline: 0px;">The Boxtrolls</a> </strong></em>(<strong style="font-style: inherit;">Irena Brignull</strong> and <strong style="font-style: inherit;">Adam Pava</strong>; Focus Features)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://images.amcnetworks.com/ifcfilmsawards.com/wp-content/uploads/2014/11/Boyhood-screenplay-11-14-FINAL.pdf" style="color: #ff9900; outline: 0px;">Boyhood</a></strong></em> <strong style="font-style: inherit;">(Richard Linklater</strong>; IFC Films)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://d97a3ad6c1b09e180027-5c35be6f174b10f62347680d094e609a.r46.cf2.rackcdn.com/film_scripts/FSP3826_CALVARY_SCRIPT_BOOK_C6.pdf" style="color: #ff9900; outline: 0px;">Calvary</a> </strong></em>(<strong style="font-style: inherit;">John Michael McDonagh</strong>; Fox Searchlight)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.roadsideawards.com/pdf/dear-white-people-screenplay.pdf" style="color: #ff9900; outline: 0px;">Dear White People</a> </strong></em>(<strong style="font-style: inherit;">Justin Simien</strong>; Roadside Attractions)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="https://www.foxscreenings.com/TFIOS_Final_Shooting_Script.pdf" style="color: #ff9900; outline: 0px;">The Fault In Our Stars</a></strong></em> (<strong style="font-style: inherit;">Scott Neustadter</strong> and <strong style="font-style: inherit;">Michael H. Weber</strong>; 20th Century Fox)</div>
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<em style="font-weight: inherit;"><span style="text-decoration: underline;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/foxcatcher_screenplay.pdf" style="color: #ff9900; outline: 0px;">Foxcatcher</a></strong></span><strong style="font-style: inherit;"> </strong></em>(<strong style="font-style: inherit;">E. Max Fry</strong>e and<strong style="font-style: inherit;"> Dan Futterman</strong>; Sony Classics)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.paramountguilds.com/pdf/the-gambler-screenplay.pdf" style="color: #ff9900; outline: 0px;">The Gambler</a></strong></em> (<strong style="font-style: inherit;">William Monahan</strong>; Paramount Pictures)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.universalpicturesawards.com/media/1/pdfs/screenplay1_627873.pdf" style="color: #ff9900; outline: 0px;">Get On Up</a></strong></em> (<strong style="font-style: inherit;">Jez Butterworth</strong> and <strong style="font-style: inherit;">John-Henry Butterworth</strong>; Universal Pictures)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="https://www.foxscreenings.com/GoneGirl_Final_Shooting_Script.pdf" style="color: #ff9900; outline: 0px;">Gone Girl</a></strong></em> (<strong style="font-style: inherit;">Gillian Flynn</strong>; 20th Century Fox)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<a href="http://d97a3ad6c1b09e180027-5c35be6f174b10f62347680d094e609a.r46.cf2.rackcdn.com/film_scripts/FSP3825_TGBH_SCRIPT_BOOK_C6.pdf" style="color: #ff9900; outline: 0px;"><em style="font-weight: inherit;"><strong style="font-style: inherit;">The Grand Budapest Hotel</strong> </em></a>(<strong style="font-style: inherit;">Wes Anderson</strong>; Fox Searchlight)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<a href="http://www.dwaawards.com/pdf/screenplay.pdf" style="color: #ff9900; outline: 0px;"><em style="font-weight: inherit;"><strong style="font-style: inherit;">How to Train Your Dragon 2</strong></em></a> (<strong style="font-style: inherit;">Dean DeBlois</strong>; DreamWorks Animation)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://twcguilds.com/assets/downloads/ScreenplayTIG.pdf" style="color: #ff9900; outline: 0px;">The Imitation Game</a></strong></em> (<strong style="font-style: inherit;">Graham Moore</strong>; The Weinstein Company)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://pdl.warnerbros.com/wbmovies/awards2014/pdf/iv.pdf" style="color: #ff9900; outline: 0px;">Inherent Vice</a> </strong></em>(<strong style="font-style: inherit;">Paul Thomas Anderson</strong>; Warner Bros.)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://waltdisneystudiosawards.com/downloads/into-the-woods-screenplay.pdf" style="color: #ff9900; outline: 0px;">Into the Woods</a></strong></em> (James Lapine; Walt Disney)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://focusguilds2014.com/workspace/media/kill-the-messenger-screenplay.pdf" style="color: #ff9900; outline: 0px;">Kill the Messenger</a></strong></em> (<strong style="font-style: inherit;">Peter Landesman</strong>; Focus Features)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/leviathan_screenplay.pdf" style="color: #ff9900; outline: 0px;">Leviathan</a></strong></em> (<strong style="font-style: inherit;">Oleg Negin</strong> and <strong style="font-style: inherit;">Andrey Zvyagintsev</strong>; Sony Classics)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://static.squarespace.com/static/524c79fae4b061d170a7c598/t/5473d68de4b0ed05fd46e17a/1416877709701/Locke+%281%29.pdf" style="color: #ff9900; outline: 0px;">Locke</a></strong></em> (<strong style="font-style: inherit;">Steven Knight</strong>; A24)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/loveisstrange_screenplay.pdf" style="color: #ff9900; outline: 0px;">Love is Strange</a> </strong></em>(<strong style="font-style: inherit;">Mauricio Zacharias</strong> and<strong style="font-style: inherit;"> Ira Sachs</strong>; Sony Classics)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/mrturner_screenplay.pdf" style="color: #ff9900; outline: 0px;">Mr. Turner</a></strong></em> (<strong style="font-style: inherit;">Mike Leigh</strong>; Sony Classics)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.scribd.com/doc/250889715/Nightcrawler-Script" style="color: #ff9900; outline: 0px;">Nightcrawler</a></strong></em> (<strong style="font-style: inherit;">Dan Gilroy</strong>; Open Road)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://focusguilds2014.com/workspace/media/the-theory-of-everything-screenplay.pdf" style="color: #ff9900; outline: 0px;">The Theory of Everything</a> </strong></em>(<strong style="font-style: inherit;">Anthony McCarten</strong>; Focus Features)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/stillalice_screenplay.pdf" style="color: #ff9900; outline: 0px;">Still Alice</a></strong></em> (<strong style="font-style: inherit;">Wash Westmoreland</strong> and <strong style="font-style: inherit;">Richard Glatzer</strong>; Sony Classics)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://twcguilds.com/assets/downloads/ScreenplayStVincent.pdf" style="color: #ff9900; outline: 0px;">St. Vincent</a></strong></em> (<strong style="font-style: inherit;">Theodore Melfi</strong>; The Weinstein Company)</div>
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<a href="http://www.universalpicturesawards.com/media/4/pdfs/screenplay4_512054.pdf" style="color: #ff9900; outline: 0px;"><em style="font-weight: inherit;"><strong style="font-style: inherit;">Unbroken</strong></em></a> (<strong style="font-style: inherit;">Joel</strong> and <strong style="font-style: inherit;">Ethan Coen</strong>,<strong style="font-style: inherit;"> Richard LaGravenese</strong> and<strong style="font-style: inherit;"> William Nicholson</strong>; Universal Pictures)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/whiplash_screenplay.pdf" style="color: #ff9900; outline: 0px;">Whiplash</a></strong></em> (<strong style="font-style: inherit;">Damian Chazelle</strong>; Sony Classics)</div>
<div style="background-color: white; font-family: Arial, sans-serif; font-size: 16.6666679382324px; line-height: 1.5em; margin-top: 18px; padding: 0px;">
<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://d97a3ad6c1b09e180027-5c35be6f174b10f62347680d094e609a.r46.cf2.rackcdn.com/film_scripts/FSP3824_WILD_SCRIPT_BOOK_C3.pdf" style="color: #ff9900; outline: 0px;">Wild</a></strong></em> (<strong style="font-style: inherit;">Nick Hornby</strong>; Fox Searchlight)</div>
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<em style="font-weight: inherit;"><strong style="font-style: inherit;"><a href="http://www.sonyclassics.com/awards-information/wildtales_screenplay.pdf" style="color: #ff9900; outline: 0px;">Wild Tales</a></strong></em> (<strong style="font-style: inherit;">Damián Szifron</strong>; Sony Classics)</div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-8389552590048873482015-02-20T09:29:00.002-08:002015-02-20T09:29:24.633-08:00WIM WENDERS: “EVERYTHING I LOVED I HAD TO DEFEND”<div style="text-align: center;">
<a href="http://the-talks.com/interviews/wim-wenders/" style="border: 0px; color: black; font-family: Georgia, serif; font-size: 23.9999980926514px; font-style: italic; line-height: 20px; margin: 0px; padding: 0px; text-align: start; text-decoration: none; text-transform: uppercase;">WIM WENDERS: “EVERYTHING I LOVED I HAD TO DEFEND”</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiViL_aLNkcGxp5FuO0k2D34AHfWHYlhI0D7DCpPKjzppPJMBuS04IKAjdSPl2NZx1qvXUX5nloNRljDZLbzxswmv7eZ46U1nma0JSgsFoiYaXHDndTOXYU_A8xph5yXKtOUCs_vIcxbcMg/s1600/Wim-Wenders-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiViL_aLNkcGxp5FuO0k2D34AHfWHYlhI0D7DCpPKjzppPJMBuS04IKAjdSPl2NZx1qvXUX5nloNRljDZLbzxswmv7eZ46U1nma0JSgsFoiYaXHDndTOXYU_A8xph5yXKtOUCs_vIcxbcMg/s1600/Wim-Wenders-01.jpg" height="207" width="400" /></a></div>
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<strong style="border: 0px; margin: 0px; padding: 0px;">Mr. Wenders, you once said that at the beginning of your career you felt like a painter who was searching for a way to express time. Would you still describe your approach to making films that way?</strong></div>
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I started making movies as an extension of painting. I worked as a painter, I wanted to be a painter, but it is difficult to catch the element of time in images. So as a painter it made a lot of sense to start using a camera. When I started out as a filmmaker, it was in the mid-to-late ’60s and video was not really invented yet. There were no artists who worked with film – except some artists in America who did it in an experimental way. Most famous was probably Andy Warhol. I thought that was the future. I don’t think of myself as a painter anymore. In photography, yes, but in filmmaking I am strictly a storyteller. For me it is all about the story that I am trying to tell. That is my dominant force.</div>
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<strong style="border: 0px; margin: 0px; padding: 0px;">But one can definitely see the influence painting has had on your work. Some of the frames in your films could even be landscape paintings.</strong></div>
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Of course I still make frames in order to tell stories, but each of these frames has a function in relation to this story. My first films, short films, were non-narrative. There was no story, there was nothing happening, there were no actors. It was mostly because as a painter and later on as a filmmaker I was most interested in landscapes and places, but now I am really a storyteller.</div>
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<strong style="border: 0px; margin: 0px; padding: 0px;">What caused you to make that transition to narrative filmmaking</strong><strong style="border: 0px; margin: 0px; padding: 0px;">?</strong></div>
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When I started out making films, I discovered very quickly that you could make a movie while you are travelling. You didn’t have to do it in a studio, you could take your camera with you on the road. I discovered that there was even a genre associated with this idea – although the road movie was more popular in America than in Europe. As soon as I started to travel with the camera, I discovered that I had found a form of expression that really suited me.</div>
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<strong style="border: 0px; margin: 0px; padding: 0px;">Some of your most beloved films are road movies. Why do you think that form suits you so well?</strong></div>
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Maybe it has to do with my childhood and the atmosphere in West Germany when I grew up. It was a very narrow space in many senses: It was small to begin with, had lots of borders around, and people were, I felt, quite narrow-minded. So the greatest urge I had as a kid, the greatest pleasure, was to travel. I travelled alone for the first time in a train when I was five years old and that was a glorious day in my childhood when I sat alone on the train with nobody watching me.</div>
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<strong style="border: 0px; margin: 0px; padding: 0px;">Where did you go?</strong></div>
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<i>To read full article:</i></div>
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<i><a href="http://the-talks.com/interviews/wim-wenders/">http://the-talks.com/interviews/wim-wenders/</a></i></div>
Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-91946810294622914132015-02-18T07:44:00.000-08:002015-02-18T07:44:20.419-08:00 Akira Kurosawa - blocking and camera<div style="text-align: center;">
The scene below is from <span style="background-color: white; color: #281b21; font-family: sl-Apres; font-size: 16.6666679382324px; line-height: 30px;"> </span><em style="background-color: white; color: #660033; font-family: sl-Apres; font-size: 16.6666679382324px; font-weight: bold; line-height: 30px; text-decoration: none;"><a href="http://www.amazon.com/dp/B000BR6QCI/?tag=slatmaga-20" style="background-color: white; color: #660033; font-family: sl-Apres; font-size: 16.6666679382324px; font-weight: bold; line-height: 30px; text-decoration: none;" target="_blank">The Bad Sleep Well</a> </em></div>
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Kurosawa and Mifune - 2 masters.</div>
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It is a video essay by Tony Zhou and it's very effective. When watching, I would add that the simplicity of the coverage serves the scene so well. By not covering the scene in the traditional way: CS/MS/WS, there is more tension in the scene as we feel like we are a part of the interior, right there, seeing/hearing/feeling what happens. Which is what we all want to do; engage the audience in the highest manner we can.<br />
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<a href="https://www.youtube.com/watch?v=jGc-K7giqKM#t=127">https://www.youtube.com/watch?v=jGc-K7giqKM#t=127</a><br />
<br />Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-62352060986220421932015-02-16T11:01:00.001-08:002015-02-16T11:01:22.964-08:00women in film<div class="separator" style="clear: both; text-align: left;">
For those of you in NYC, try and catch this. One hip woman!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhejjDtvkRRABC7mrno0A5IE2n1f9yUYGbT5wnmEUSqB2VFxaECzRxfB9kkO0G5qmfIg1VUhA4YoLMEsr5z6DR233hio7IlvrcjvDUYrStfpftxobNEOgMku13-mTHtyBWO56I-qkFYfO4h/s1600/jessie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhejjDtvkRRABC7mrno0A5IE2n1f9yUYGbT5wnmEUSqB2VFxaECzRxfB9kkO0G5qmfIg1VUhA4YoLMEsr5z6DR233hio7IlvrcjvDUYrStfpftxobNEOgMku13-mTHtyBWO56I-qkFYfO4h/s1600/jessie.jpg" height="506" width="640" /></a></div>
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Films by Jessie Maple in Lincoln Center Series</h1>
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The <a href="http://www.filmlinc.com/films/on-sale/an-evening-with-jessie-maple" style="color: #326891;">work of Jessie Maple</a>, a filmmaker and the first African-American woman to join New York’s camera operators union in 1975, will be celebrated on Monday with the program “An Evening With Jessie Maple” at the Elinor Bunin Munroe Film Center (144 West 65th Street). Ms. Maple, who wrote a book, “How to Become a Union Camerawoman,” about her life and hard-fought battle to join the union, directed two narrative features.</div>
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When she couldn’t find a theater to hold the premiere of her first film, “Will” (1981), the story of a former athlete recovering from drug addiction, she and her husband, Leroy Patton, a cinematographer, founded the Harlem independent cinema 20 West in 1982. “Will” has been called “the first post-civil rights feature film directed by a woman.” The second feature, “Twice as Nice” (1989), is an intimate story of twin basketball players.</div>
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There will be a Q. and A. with Ms. Maple. Both features will be shown as part of the Film Society of Lincoln Center’s series “Tell It Like It Is: Black Independents in New York, 1968-1986.”</div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-82145540821053540272015-02-12T06:52:00.000-08:002015-02-12T06:52:57.657-08:00Feature film shot on iPhone premiers at Sundance<h1 class="instapaper_title" data-remote-admin-entry-id="7689064" data-remote-headline-edit="title" data-remote-headline-promo-headine="How one of the best films at Sundance was shot using an iPhone 5S" id="stream_title" style="-webkit-font-feature-settings: 'kern' 1; background-color: white; box-sizing: border-box; font-family: Adelle, Georgia, serif; font-kerning: normal; line-height: 1.25; margin: 0px; padding: 1rem 4rem 0px 0px; text-align: left; text-rendering: optimizelegibility;">
<span style="font-size: small; font-weight: normal;">Here's a real example of how to be the New Gorilla and shake the tree!</span></h1>
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<h1 class="instapaper_title" data-remote-admin-entry-id="7689064" data-remote-headline-edit="title" data-remote-headline-promo-headine="How one of the best films at Sundance was shot using an iPhone 5S" id="stream_title" style="-webkit-font-feature-settings: 'kern' 1; background-color: white; box-sizing: border-box; font-family: Adelle, Georgia, serif; font-kerning: normal; line-height: 1.25; margin: 0px; padding: 1rem 4rem 0px 0px; text-align: center; text-rendering: optimizelegibility;">
<span style="font-size: small;">How one of the best films at Sundance was shot using an iPhone 5S</span></h1>
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<a href="http://www.sundance.org/projects/tangerine" sl-processed="1" style="background: transparent; box-sizing: border-box; color: #fa4b2a; font-size: 1em !important; line-height: inherit !important; text-decoration: none;" target="_blank"><i style="box-sizing: border-box;">Tangerine</i></a>, a breakout hit from this year’s Sundance Film Festival, is full of surprises. There’s the subject matter: transgender prostitutes working in a not-so glamorous part of Hollywood. And there are the characters: flinty, funny, nobody’s victim. But the story behind the camera is as surprising as what’s in front of it. Particularly because the camera used to shoot <em style="box-sizing: border-box;">Tangerine</em> was the iPhone 5S.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEcO06z1pE07cWFciawV0t63CLecCflOCbU6FVx3kF3qdDAD4a7dXuNNMjt4wO5l52uDcqKknZqKLRgCmPHH0vTrqclcsyUPtWpB3El3wWXMAv6x9Rl1gRyAEpS3qBWOtbS5UOYtntV0jI/s1600/a1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEcO06z1pE07cWFciawV0t63CLecCflOCbU6FVx3kF3qdDAD4a7dXuNNMjt4wO5l52uDcqKknZqKLRgCmPHH0vTrqclcsyUPtWpB3El3wWXMAv6x9Rl1gRyAEpS3qBWOtbS5UOYtntV0jI/s1600/a1.jpg" height="180" width="320" /></a></div>
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<span style="font-size: 1.1rem; line-height: 1.7;">Plenty of amateur films have been shot using iPhones, but by all reports, this is the first movie at the Sundance Film Festival to be shot almost entirely on an Apple device. It was a decision that indie writer and director Sean Baker made to accommodate the film’s small budget. But you’d never guess the camera, to look at it: </span><em style="box-sizing: border-box; font-size: 1.1rem; line-height: 1.7;">Tangerine</em><span style="font-size: 1.1rem; line-height: 1.7;"> </span><span style="font-size: 1.1rem; line-height: 1.7;">was shot in a widescreen, 2:35:1 aspect ratio, and its camera zooms through the streets of LA with a fluidity you’d never expect from a handheld device. And yet despite his camera of choice, Baker says the iPhone made for a good partner. "It was surprisingly easy," Baker says. "We never lost any footage."</span></div>
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So how do you make a Sundance movie for iPhone? You need four things. First, of course, the iPhone (Baker and his team used three). Second, an $8 app called <a href="http://www.filmicpro.com/" sl-processed="1" style="background: transparent; box-sizing: border-box; color: #fa4b2a; font-size: 1em !important; line-height: inherit !important; text-decoration: none;" target="_blank">Filmic Pro</a> that allowed the filmmakers fine-grained control over the focus, aperture, and color temperature. Third, a Steadicam. "These phones, because they’re so light, and they’re so small, a human hand — no matter how stable you are — it will shake. And it won’t look good," says Baker. "So you needed the Steadicam rig to stabilize it."</div>
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<span style="font-size: 1.1rem; line-height: 1.7;">For full article:</span></div>
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<a href="http://www.theverge.com/2015/1/28/7925023/sundance-film-festival-2015-tangerine-iphone-5s">http://www.theverge.com/2015/1/28/7925023/sundance-film-festival-2015-tangerine-iphone-5s</a></div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-13682167022928041702015-02-10T14:13:00.000-08:002015-02-10T14:13:09.313-08:00Cameras Used by Sundance 2015 Filmmakers & Why They Chose Them<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaKj4ClBdvaE0u_OQ3qvV4kqMsWA0elTRP6JMQLn33u9qO-o7dGQ3tX3Ql5ohi25Tp_MW2qoYgCIzqNpANDDVLJLJOGsyVigLb5Ea1yEiPON8xpnR2lqNYjMHX41oAEwdikf-WW8Th2gUO/s1600/Blackmagic+Cinema+Camera+PL+with+Lens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaKj4ClBdvaE0u_OQ3qvV4kqMsWA0elTRP6JMQLn33u9qO-o7dGQ3tX3Ql5ohi25Tp_MW2qoYgCIzqNpANDDVLJLJOGsyVigLb5Ea1yEiPON8xpnR2lqNYjMHX41oAEwdikf-WW8Th2gUO/s1600/Blackmagic+Cinema+Camera+PL+with+Lens.jpg" height="161" width="320" /></a></div>
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We can probably all agree that every film requires a different set of tools.</h5>
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This is certainly clear at the <a href="http://nofilmschool.com/tags/sundance-2015" sl-processed="1" style="box-sizing: border-box; color: #2db7ff; text-decoration: none;">2015 Sundance Film Festival</a>, with films being shot on anything from an iPhone 5S, a burgeoning <a class="external" href="https://www.blackmagicdesign.com/press/pressdetails?releaseID=62287" sl-processed="1" style="box-sizing: border-box; color: #2db7ff; text-decoration: none;" target="_blank">arsenal of Blackmagic cameras</a>, to regular (that is, 4:3) 16mm. Although all feature films eventually ended up as digital <a href="http://nofilmschool.com/2015/01/no-35mm-sundance-dcp-master-choice-indie-filmmakers" sl-processed="1" style="box-sizing: border-box; color: #2db7ff; text-decoration: none;">in the festival's first ever year with no 35mm masters</a>, there's no shortage of different shooting formats. <span style="box-sizing: border-box;">Here is a smattering of excerpts from our soon-to-be released video interviews with Sundance filmmakers, compiled to give you insight into not only what they shot on, but why. </span></div>
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<span style="box-sizing: border-box;"><a href="http://nofilmschool.com/2015/01/cameras-filmmakers-2015-sundance-film-festival">http://nofilmschool.com/2015/01/cameras-filmmakers-2015-sundance-film-festival</a></span></div>
Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-60378722441298978372015-02-06T07:10:00.000-08:002015-02-06T07:10:26.922-08:00NewFilmmakers Los AngelesSupport your local filmmakers! And these are SHORT FILMS!<br />
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<a href="http://www.newfilmmakersla.com/about-us/newsletter/">http://www.newfilmmakersla.com/about-us/newsletter/</a></div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-62701776506216831282015-02-04T13:08:00.000-08:002015-02-04T13:08:37.126-08:00Director Richard Linklater for a Special Live Q&A!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiDPWnB5N-GMyCCpa1xL5w8i-6br8YcXztdjUf3sat41xXxft4tcuu-SZgYVBVhG-6brUpY3p7kTIlsm0bcC4Ewke7gqw708S6gzGE0b_hD34j1L06vtL_KQwoJduNTeEAWqFCdoNJ8xA/s1600/boy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiDPWnB5N-GMyCCpa1xL5w8i-6br8YcXztdjUf3sat41xXxft4tcuu-SZgYVBVhG-6brUpY3p7kTIlsm0bcC4Ewke7gqw708S6gzGE0b_hD34j1L06vtL_KQwoJduNTeEAWqFCdoNJ8xA/s1600/boy.jpg" height="179" width="320" /></a></div>
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<strong><span style="font-size: 19px;"><span style="font-family: arial, helvetica, sans-serif;"><span style="color: #1e9db3;">BOYHOOD & DAZED AND CONFUSED</span></span></span></strong></div>
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<em style="color: #c24823; font-family: arial, helvetica, sans-serif; font-size: 18px;"><strong>Join Award-Winning Director Richard Linklater (BEFORE SUNRISE, BEFORE SUNSET, BEFORE <span class="aBn" data-term="goog_1786708144" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">MIDNIGHT</span></span>, BOYHOOD) for a Special Live Q&A!</strong></em></div>
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<strong style="color: #1e9db3; text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><span class="aBn" data-term="goog_1786708145" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Friday, February 6, 2015 - 7:30 PM</span></span> - Double Feature: </span></strong></div>
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<span style="font-size: 20px;"><span style="color: #c24823;"><span style="font-family: arial, helvetica, sans-serif;"><strong>BOYHOOD</strong></span></span></span></div>
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<span style="font-size: 12px;"><span style="font-family: arial, helvetica, sans-serif;">2014, IFC Films, 165 min, USA, Dir: Richard Linklater</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Among the most remarkable films of recent memory, BOYHOOD was shot over a 12-year period to follow the fractured family life of Mason Evans Jr. (Ellar Coltrane) as he moves from grade school to college. As his divorced parents, Patricia Arquette and Ethan Hawke are equally affecting despite taking different approaches to raising kids. Impressive as the logistical hurdles Linklater and his team surmounted, what’s most memorable about this coming-of-age drama is how right it gets the little moments of this boy’s life - a sad stare as mom drives him away from his hometown for the last time, an encouraging note passed to him at his new school, or an early morning walk with a girlfriend. <span style="color: #c24823;"><em><strong>Discussion following with filmmaker Richard Linklater.</strong></em></span></span></div>
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<span style="font-size: 20px;"><span style="color: #c24823;"><span style="font-family: arial, helvetica, sans-serif;"><strong>DAZED AND CONFUSED</strong></span></span></span></div>
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<span style="font-size: 12px;"><span style="font-family: arial, helvetica, sans-serif;">1993, Gramercy Pictures, 102 min, USA, Dir: Richard Linklater</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">The last day of class at a Texas high school in 1976 brings together jocks, nerds and stoners in this cult teen comedy set to a classic rock soundtrack. Jason London, Ben Affleck, Milla Jovovich and Renée Zellweger are among the students gearing up for the summer; Matthew McConaughey is unforgettable as the older guy who still parties with the kids.</span></div>
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<a href="http://click.icptrack.com/icp/relay.php?r=1075660942&msgid=6353716&act=DQSW&c=46389&destination=http%3A%2F%2Fwww.americancinemathequecalendar.com%2Fcontent%2Fboyhood-dazed-and-confused" style="color: #1155cc;" target="_blank"><span style="font-family: arial, helvetica, sans-serif;">website</span></a></div>
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<a href="http://click.icptrack.com/icp/relay.php?r=1075660942&msgid=6353716&act=DQSW&c=46389&destination=http%3A%2F%2Fwww.fandango.com%2Famericancinemathequeattheaerotheatre_aacpd%2Ftheaterpage%3Fq%3D90403" style="color: #1155cc;" target="_blank"><img class="CToWUd" height="78" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEh-zcYLgqifYND2fE0NkOBZXcvIQngEeUTSQUcqMgnRoJfZwwIGgA-RIi5P5my2okDNch8U486cYUj7W2DZxaQutKDsOvyfIXJ1jHkV8Lm8cnDXQb887Iqoa9cBldGcgiHQ4_hmSn_wIbK1CWZz1TNXTXKf8-k6bJLtD9zQuC3oktqGOdRh5reFxp4LMISBqkSZzz_buUnvAImmXSEvdRk-bf1GQYeq=s0-d-e1-ft" style="border: 0px solid rgb(0, 0, 238); display: inline; margin: 0px; min-height: 78px; width: 100px;" width="100" /></a></div>
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<strong style="color: #169094; font-size: 18px;"><span style="font-family: arial, helvetica, sans-serif;">TICKETS:</span></strong></div>
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<span style="font-family: arial, helvetica, sans-serif;">$11 General, $9 Student/Senior, $7 Member. </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">No vouchers accepted.</span><span style="font-family: arial, helvetica, sans-serif;">Purchase advance tickets online on www.fandango or come in person to the box office.</span></div>
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<strong><span style="font-family: arial, helvetica, sans-serif;"><a href="http://click.icptrack.com/icp/relay.php?r=1075660942&msgid=6353716&act=DQSW&c=46389&destination=http%3A%2F%2Fwww.fandango.com%2Famericancinemathequeattheaerotheatre_aacpd%2Ftheaterpage%3Fq%3D90403" style="color: #1155cc;" target="_blank">buy tickets</a> </span></strong></div>
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<strong style="color: #1e9db3; font-family: arial, helvetica, sans-serif;">AERO THEATRE</strong><span style="color: #1e9db3; font-family: arial, helvetica, sans-serif;"> </span></div>
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Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-52397951934305297442015-02-02T07:06:00.001-08:002015-02-02T07:06:46.094-08:00STANLEY KUBRICK SHOOTS THE N.Y.C. SUBWAY, 1946<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf0GzYLpEApj4gBf2rEOaS4gxmvb5Y32MahuppKW9cmxDJMiKF8lqkY1zS_RJeFw2vT22fQXpuq8bnsW63Em9wrOJ7AB8og4JPtzCpCDTCEodPLNUTQbVtPMUgc1ra8vVVBGcmDkEixC0E/s1600/kub.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf0GzYLpEApj4gBf2rEOaS4gxmvb5Y32MahuppKW9cmxDJMiKF8lqkY1zS_RJeFw2vT22fQXpuq8bnsW63Em9wrOJ7AB8og4JPtzCpCDTCEodPLNUTQbVtPMUgc1ra8vVVBGcmDkEixC0E/s1600/kub.jpg" height="211" width="320" /></a></div>
<span style="background-color: white;"><span style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;">In the summer of 1945, Stanley Kubrick, many years before he was the acclaimed director of </span><em style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;"><a href="http://www.amazon.com/gp/search/ref=as_li_qf_sp_sr_il_tl?ie=UTF8&camp=1789&creative=9325&index=aps&keywords=Dr.%20Strangelove&linkCode=as2&tag=boxoffbof-20&linkId=BUD2ZWOPUESEEB5P" style="color: black;">Dr. Strangelove</a></em><span style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;">, </span><em style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;"><a href="http://www.amazon.com/gp/search/ref=as_li_qf_sp_sr_il_tl?ie=UTF8&camp=1789&creative=9325&index=aps&keywords=2001%3A%20A%20Space%20Odyssey&linkCode=as2&tag=boxoffbof-20&linkId=NDGPCYOLZLTQDBEH" style="color: black;">2001: A Space Odyssey</a></em><span style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;">, and </span><em style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;"><a href="http://www.amazon.com/gp/search/ref=as_li_qf_sp_sr_il_tl?ie=UTF8&camp=1789&creative=9325&index=aps&keywords=A%20Clockwork%20Orange%20kubrick&linkCode=as2&tag=boxoffbof-20&linkId=D3RHLP4EZTONX77T" style="color: black;">A Clockwork Orange</a></em><span style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;">, had a series of photographs published in LOOK magazine, a competitor to LIFE. He was just 16 years old. Thus would begin a relationship with the magazine that would last several years, until he began making movies in earnest around the age of 23, in the early 1950s. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwoXU0W9S9scmMjdpXlCWivEpQirMKfI_B_D1PeA0la7cGwck8tTUWX9qXNExqrlfsUuigZOJhBHQyFTsWoMQaRwKuC8AAIxyHXvwSI7RzU18-psH2ul5NXjyi45y1hRAF0jzSJ8G-BSH-/s1600/kub2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwoXU0W9S9scmMjdpXlCWivEpQirMKfI_B_D1PeA0la7cGwck8tTUWX9qXNExqrlfsUuigZOJhBHQyFTsWoMQaRwKuC8AAIxyHXvwSI7RzU18-psH2ul5NXjyi45y1hRAF0jzSJ8G-BSH-/s1600/kub2.jpg" height="215" width="320" /></a></div>
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For full article:</div>
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<span style="background-color: white;"><span style="font-family: Arial, sans-serif; font-size: 12px; line-height: 16px;"><a href="http://dangerousminds.net/comments/stanley_kubrick_shoots_the_n.y.c._subway_1946">http://dangerousminds.net/comments/stanley_kubrick_shoots_the_n.y.c._subway_1946</a></span></span>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0tag:blogger.com,1999:blog-6363727083857961004.post-43858528705214478892015-01-30T07:49:00.000-08:002015-01-30T07:49:49.306-08:00Sundance 2015 Cinematographers on How They Captured Their Most Difficult Shots<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigA1ZxxqdZdj3ufz4PhA1KvldXFb8WUAgPsHa_7GFsYRpF4Hj7ZpSw2V6GJHoo9PTU64RkQYoiGIXNDNrwLFVFXGD8iUOdbUHeJ8H-xCd3lTx8PCOPic4xjpkHyWSfysn6gD6nnc6AyHTk/s1600/sund.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigA1ZxxqdZdj3ufz4PhA1KvldXFb8WUAgPsHa_7GFsYRpF4Hj7ZpSw2V6GJHoo9PTU64RkQYoiGIXNDNrwLFVFXGD8iUOdbUHeJ8H-xCd3lTx8PCOPic4xjpkHyWSfysn6gD6nnc6AyHTk/s1600/sund.tiff" height="448" width="640" /></a></div>
Good article on how some DP's came to shoot some scenes. For example:<br />
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<span style="background-color: white; font-family: Vollkorn, serif; font-size: 18.3999996185303px; line-height: 27px;">"There is a montage in the middle of the movie where all four of our characters are in a swimming pool. We knew we wanted to have some underwater shots as part of this montage, but I was worried about the time and resources it would cost for us to put a camera and operator in the pool for just a couple of shots. I ended up having the idea to put a GoPro on an old $10 monopod and just dunking it in the water and following the action around. This was difficult because I couldn’t monitor the camera while shooting. I was just hoping for the best and luckily, it worked out great." -</span><a class="" href="http://www.indiewire.com/article/how-i-shot-that-dp-john-guleserian-captures-the-adult-playdate-gone-awry-in-the-overnight-20150123" style="background-color: white; border: 0px; color: #005da6; font-family: Vollkorn, serif; font-size: 18.3999996185303px; font-stretch: inherit; line-height: 27px; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="Link: http://www.indiewire.com/article/how-i-shot-that-dp-john-guleserian-captures-the-adult-playdate-gone-awry-in-the-overnight-20150123">John Guleserian, "The Overnight"</a><br />
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For full article:<br />
<a href="http://www.indiewire.com/article/sundance-2015-cinematographers-on-how-they-captured-their-most-difficult-shots-20150128">http://www.indiewire.com/article/sundance-2015-cinematographers-on-how-they-captured-their-most-difficult-shots-20150128</a>Anonymoushttp://www.blogger.com/profile/13305212003495146212noreply@blogger.com0