People changing films and films changing people is what we're all about here.
Mayor Bloomberg is considering a proposal that would severely limit DIY filmmaking in NYC. Street filmmaker Jem Cohen isn't having it.
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Francis Ford Coppola blames studio greed for his midlife crisis.
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They must be well-written (Rimshot! Ha-ha ... some movies are bad.)
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Lance Weiler's first movie established his reputation as a digital pioneer. It only makes sense that he'd take an open source approach to his second.
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A great interview with indie pioneer M dot Strange
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Diving into Disney's history of questionable hiring policies.
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Two clips celebrating Orson Welles' side career as paycheck collector.
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Woody Allen becoming an opera singer? Tom DeLay calling MIchael Moore a chicken? How far away are we from the apocalypse?
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An experimental filmmaker and a punk icon take on the most mythic rock song of the past two decades.
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Sequels tend to be pretty predictable (unless, of course, they're about global warming or directed by Hal Hartly).
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The Filmmaker Magazine article is a good read, and the mumblecore collaborations are a good model.
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McConaughey's hair budget aside, there are expenses in movie-making that you would never imagine.
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Is it possible the Long Tail is getting shorter for foreign-language films, as it simultaneously gets longer for movie lovers in the states?
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A producer and director, fresh off a trip to SXSW with their film, talk to Spout about some of the ins and outs of their filmmaking experience.
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Among other things, filmmaker Matthew Bissonnette tells me that "the best films are like songs, they hit you in a strange mysterious place, and suggest a million wonderful things you haven't ever seen or heard."
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Why is a good love story getting more and more difficult to find?
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To get a degree or to get a
how-to DVD. That is the question.
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Filmmaker Alfonso Cuaron has mixed feelings about all the attention
Children of Men and other Mexican films are getting these days.
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How much math, science, game-playing, strategy and love are involved in the Oscars?
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Making what could be called a "Long Tail movie" calls for a small budget, which calls for the kind of practical, doable advice found in
The DV Rebel's Guide.
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Arin Crumley, co-director of the film Four Eyed Monsters, has a dream for the future of film distribution. One of our own, Marie-Claire, shares with us a series of emails exchanges with Crumley on the topic.
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Even if you hate the idea of watching video content on your cellphone, the medium could have some interesting creative benefits.
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Paul interviews Sami Mermer, a young filmmaker from Turkey. He carries a camera with him wherever he goes. As a result, he's spent countless hours in an FBI interrogation room.
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If you only have time to listen to a handful of the podcasts we made at the Denver Film Festival, listen to these.
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Bill interviews some of the talent behind
Steel Toes--director David Gow and actors David Strathairn and Andrew Walker.
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Bill and Dave interview director Dan Lohaus who made
When I Came Home.
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Kevin talks to Angie Avarez, producer and assistant director of the mockumentary,
Chalk.
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Kevin talks to a couple of filmmakers who broke the "rockumentary" mold, in part by using ambient music and images.
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What if movies required something more of us than just sitting slumped on the couch?
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A common complaint from film audiences is, "The characters just weren't believable." Director Todd Field knows how to avoid that problem.
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Maybe the key to a happy life and career making films is more a matter of mindset than of beefing up your defenses.
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Even a one-night event in a mid-sized Midwestern city can pull off a Q&A time with a director. All it takes is a good ol' speaker phone and PA system.
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One of our favorite things about really great films is the conversation afterwards. Listen in on one.
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Filmmaker Doug Block reminds us we all have stories to tell, and that telling our stories brings people together.
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Yes, even successful directors get nervous before presenting their work to the world.
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Field's new film is full of original moments, fully-rounded characters, and the perfect balance between tragedy and comedy.
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Is serious hot right now in Hollywood? It seems to be working out that way for Participant Productions.
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Certain films require fellow viewers and follow up conversation. Hence, our first Spout film event.
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Some films are able to both mimic what has worked before and keep it fresh.
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Many young filmmakers, like Swanberg, are playing in an exciting place between essay, documentary, and drama.
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There seems to be a magic formula to securing a big hit. But can freshness be formulated?
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Films, of course, depict images of life--some right on, some misleading. Maybe more should take the 51 Birch approach.
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Good action and good directing make for an exciting use of the "video look."
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A little Hollywood filmmaking in the too-cute hood. How cool is that?
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As filmmakers, we're all struggling to learn how to stop mimicking our favorite films and find the film that's truly about ourselves.
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Not surprisingly, YouTube's greatest advantage also seems to be its greatest disadvantage.
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If you have a story that needs to be told, tell it. That's what Colin Gray did, even when his story seemed too bizarre to come together. Maybe the stories we feel most deeply about, but also doubt the most on the surface, are the most important ones to tell.
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Why do so many films rely on a wildly eccentric character or some big secret being revealed? Why can't more people tell the stories right at their fingertips, and tell them really well? Ed Burns did that with
Groomsmen.
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Under the current assumption—that all the checks in the filmmaking business are signed in LA—you have to either be in LA or have close ties there to make it. That was the basic message at a recent Waterfront panel. But what if the paradigm shifted?
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What can
Unhitched,
Lighten Up,
Losing Lusk and
Twitch each do to us in 12 minutes or less? Whatever it is, it's pretty amazing, and we're going to get our fill of shorts at Waterfront.
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