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More than any other American director working today, Martin Scorsese retains perhaps the most encyclopedic set of knowledge when it comes to his cinematic forbearers. Two years ago, Fast Company distilled 85 references made throughout the course of a four hour interview on Hugo, and dubbed it “Martin Scorsese’s Film School.” Flavorpill went ahead and paired the majority of those...
Filmmaker Magazine, editor Scott MacCaulay 08/20/14
“If pornography were high school, we would be the goth table,” says one of the subjects of Christina Voros’ forthcoming documentary Kink, which looks at Kink.com, the web’s largest generator of BDSM porn. Voros was one of our “25 New Faces of Film” in 2008; you can read that profile here. Since then, she’s been very busy, especially as a cinematographer....
Filmmaker Magazine, editor Scott MacCaulay 08/20/14
The summer is finally coming to an end, and everyone’s getting ready to go back to school. But over the summer while all the kids were letting their brains turn to mush at the movies, it’s Hollywood’s turn to get a report card. Let’s see how Tinseltown fared last month in one of its worst subjects: the representation of women in film. A to Disney Maleficent, Disney’s revisionist “Sleeping Beauty...
Film Independent 08/20/14
Liahona begins with distant figures walking silently through a field. It is nighttime, and both the sky and the ground seem to sparkle. The people move slowly while wearing glittering and flickeringly feathered costumes that, from a distance, make them appear to be extraterrestrial. Within the scope of modern American culture, perhaps they are: they’re members of the Church of Latter-Day Saints,...
Filmmaker Magazine, editor Scott MacCaulay 08/20/14
The New York Film Festival took some haranguing after announcing the inclusion of only one documentary in their Main Slate a week ago. Rectifying matters is their Spotlight on Documentary lineup, which features new works from Albert Maysles, Les Blank, Frederick Wiseman, Martin Scorsese and assorted filmmaking giants. I will, of course, also be looking forward to the New York premiere of Joshua...
Filmmaker Magazine, editor Scott MacCaulay 08/19/14
[Paul Dallas' first report can be read here.] Time wasted and time well spent — a ratio every festivalgoer has to work out when gambling on what to see and miss. At Locarno this year, one had to decide whether or not to devote five hours and forty minutes to a single competition film, the equivalent of four Italian classics from the wonderful Titanus retrospective. It wasn’t easy when the former...
Filmmaker Magazine, editor Scott MacCaulay 08/19/14
The news about diversity in the film business is almost never good. (Sample headlines: “Lights Camera Struggle? Hollywood Latinos Speak Out,” “Hollywood’s Irrational Allergy to ‘Black’ Films,” “GLADD Surveys Movie Studios; Is Disappointed” and “The Bamboo Ceiling: Hollywood Shuns Asians.”) So every year when we get to announce the 30 newest Fellows to join Film Independent’s Project Involve...
Film Independent 08/19/14
Title sequences just aren’t what they used to be. Nowadays, if they aren’t entirely absent, opening credits are relegated to the corner of the frame, an afterthought accessory to a film’s first scenes. This video from Nora Thös and Damian Pérez entitled “The Film Before The Film,” examines the history of credit sequences from the first Edison films to the age of ...
Filmmaker Magazine, editor Scott MacCaulay 08/19/14
It’s not every day a director comes on stage in Buddhist monk’s garb and slippers, but such was Patrick Lung Kong’s refreshingly idiosyncratic appearance Saturday night at Queens’ Museum of the Moving Image, two days into a two weekend retro of his work. To his right was Tsui Hark, who himself reshaped the Hong Kong film industry multiple times: with 1986′s Peking...
Filmmaker Magazine, editor Scott MacCaulay 08/19/14
Here is my current list of English-language conferences of interest to those in film studies (and some for TV and media studies). Upcoming conferences are listed in order by date or, for open calls, by abstract due date. Please let me know if I should add anything, and I will update this post. Also, I plan to do an update post in winter 2015.Closed calls:Flow 2014 - Austin, TX, Sept 11-13,...
Category D 08/19/14
As regular readers of this blog will now, I've had a long-running interest in Hollywood cinematography, an interest that has grown from my 1947 project and has culminated in what will be a chapter in my book. Happily, too, I've been able to write a wide-view essay about cinematography during the (sound) studio era.This essay appears in an edited volume on Hollywood cinematography titled simply...
Category D 08/18/14
Directing by its very nature is a collaborative game. Your success hinges on your ability to steer your creative dream team towards realizing your vision. So what happens when your main collaborator happens to be one of the world’s biggest pop superstars? How do you steer a force of nature? Three of the directors behind Beyoncé’s 2013 visual album gathered at the 2014 Los Angeles Film Festival...
Film Independent 08/18/14
From Cinelicious Pics comes this trailer for Adam Rifkin’s Guiseppe Makes a Movie, a portrait of the Ventura, CA-based no-budget cult filmmaker Guiseppe Andrews. Rifkin has known Andrews for 15 years, back from the days of Detroit Rock City, Said Rifkin to Filmmaker‘s Lauren Wissot, “This shy and respectful kid started cranking out no-budget films one after another, and every...
Filmmaker Magazine, editor Scott MacCaulay 08/18/14
Disney has a research division, and this video demonstrates something pretty cool they’ve been working on: an algorithm that automatically cuts together footage from multiple cameras. This isn’t entirely a new development: in the video above, the research team compares their results with those obtained using Vyclone, which kind of does the same thing. But Vyclone has trouble sorting...
Filmmaker Magazine, editor Scott MacCaulay 08/18/14
With the Chris Marker series underway at BAM this week, it seems like a topical time to share this 2013 rumination on the essay film from Kevin B. Lee. Lee purports that the essay diverges from the rest of cinema in how it “[explores] its subject and at the same time [explores] how it sees its subject.” Words, images and sound interact and inform one another, producing a commentary ...
Filmmaker Magazine, editor Scott MacCaulay 08/18/14
A few years ago I was doing a 30-minute internet radio show and decided one day to re-purpose it as a podcast. I thought, why not? Public radio shows like This American Life and Radiolab were doing it. I was also realizing that I was wasting my time being on the radio at all. Filmwax Radio was not public radio, and I assumed correctly that only a relatively small number of people were tuning in....
Filmmaker Magazine, editor Scott MacCaulay 08/18/14
At the end of Manhattan, perhaps Woody Allen’s masterpiece, he lies on a couch and lists all the things that make life worth living. As a twelve-year-old, I thought it was the coolest and hippest list I’d ever heard. Groucho Marx, Willie Mays, the second movement of the Jupiter Symphony, Louis Armstrong’s recording of Potato-head Blues, Swedish movies, Sentimental Education by Flaubert, Marlon...
Filmmaker Magazine, editor Scott MacCaulay 08/18/14
Not too long ago I was asked to read a script, and when I finished I had one question: what year was this script set in? I wondered because the whole script revolved around people in different cities being completely unable to communicate with each other, to know what was going on in each other’s lives. Yep, this present-day film took place in a world where mobile phones had not been...
Filmmaker Magazine, editor Scott MacCaulay 08/15/14
Artist, designer and model Daphne Guinness adds music to her CV with this new single, “Evening in Space,” produced by long-time David Bowie collaborator Tony Visconti. The video is directed by photographer and director David LaChappelle and, according to the notes, “features custom fashion by many of Guinness’ favourite houses, including Iris van Herpen and Noritaka...
Filmmaker Magazine, editor Scott MacCaulay 08/15/14
With Netflix in the midst of filming Orange Is the New Black‘s third season and putting $3 million into new content this year, the paradigm seems to have permanently shifted from the service being seen primarily as a content distributor to an established content creator. In other words, its continual production of scripted programming is no longer novel, which is why its push into the...
Filmmaker Magazine, editor Scott MacCaulay 08/15/14