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Frank Rose: "It's never been easy to market an indie film—but in a blockbuster universe, getting people to care about a low-budget production devoid of stars and lacking the enormous, built-in fan base of The Dark Knight or The Hunger Games can seem all but impossible."
Joe Berkowitz: "Filmmakers like Michael Bay are usually interested only in going bigger--trying to top themselves with set pieces and spectacles that succeed through excess. In the technology space, however, there is a constant race to make things smaller."
D.B.Dowd: "I'm working with students on one of my favorite projects in the two-semester Word and Image sequence: the cinematic narrative problem" ...
Ariston Anderson: "As a filmmaker, Loach has adopted a working style not unlike that of the characters seen in his films. Unlike the traditional Hollywood model, he’s not driven by his own race to the top, but rather by a collective spirit, a desire to create harmony on the set and to appreciate his crew for a job well done."
Randy Astle: "Transmedia by definition requires producers to work in more than one medium; the fun, most of the time, is in devising ways to carry a narrative (or narrative world) across different platforms" ...
Scott Macaulay: "Want to decrease press interest and the size of your audience? Then do these seven things" ...
Andrew Tran: "Some people have wondered if six seconds is too short a time span to take videos in Vine, Twitter's new video social sharing app" ...
Mark Harris: "Part 1 of this series laid out the overall plan for The Lost Children Premier event at Film Society of Lincoln Center in January 2013. In this post, I’m going to focus on some thinking behind the live immersive portion of the event."
Jean-Luc Godard famously said, “Cinema is truth 24 frames-per-second.” He clearly isn’t balancing 3-D glasses on his nose and watching the fantasy action between elves, dwarves, and a low-key hobbit named Bilbo in filmmaker Peter Jackson’s highly anticipated and sparkly bright The Hobbit: An Unexpected Journey, shot at a much discussed 48 frames-per-second (fps) for release in High Frame Rate 3D (HFR 3D).
The film about the hunt for Osama bin Laden mixes entertainment and reporting.
If you have quibbles or major beefs about how The Hobbit was adapted for Peter Jackson's movie trilogy, Philippa Boyens has answers.
NZ Herald: "Peter Jackson's award-winning hair and make-up team have been behind some remarkable transformations over the years. Their work on the hobbits, elves and 13-strong crew of dwarves in The Hobbit is among their most impressive to date."
DRC: This article is illustrated with some fun interactive graphics.
Stuart Kemp: "Going to film school and then spending years trying to make a film is a waste of storytelling time" ...
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Jeremy Cabalona: "You've had some fun with Vine, but now you want to get serious. Here are some tips to turn you into a Vine pro."
Brian Anthony Hernandez: "Tribeca Film Festival challenged people to use Twitter's Vine app to create six-second films — with a "beginning, middle and end." Here are the winners."
V Renée: "Have Nicolás Alcalá and his team at Riot Cinema Collective discovered the future of filmmaking?" ...
Richard Brody: "The fulsome orthodoxy of Pixar’s twenty-two storytelling rules goes far beyond a single company’s flavor spectrum to a crisis that is endemic to the modern cinema" ...
Emily Price: "The film Searching For Sugar Man is nominated for Best Documentary at this year’s Academy Awards. But it might have not been completed if it wasn’t for an iPhone."
Mark Wilson: "Cleverbot is a brilliant piece of AI. Its filmmaking? Not quite as bizarre as French New Wave."
Tim Maly: "When Derek Van Gorder and Otto Stockmeier decided to make a science fiction short about a mutiny on an interplanetary warship, they didn't have the funds for CGI."
Mark Harris: "[...] the premiere is not just about coming to see a film, it’s about coming out for a whole evening of exploring the story world, with the film being one aspect of that exploration."
“I’m fascinated by end credits,” said Colvard. “They’re so revealing. They’re fascinating in that filmmakers use them to continue the story….there’s so much more information there.”
The blueprints of some visionary directors' most iconic scenes
Karsten Kastelan: "The elusive auteur behind Mulholland Drive and Twin Peaks [opens] up about digital cinema, why he hasn't made a feature film since 2006's Inland Empire and why the future of cool movies is online."
Patrick Kingsley: "Be truthful, be human, get naked: 1995's groundbreaking manifesto didn't just shake up cinema. It inspired Danes to make the world's best TV, buildings and food (if you like fried mould with your grasshopper)"
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