Category Archives: Independent Film

Support My 48 Hour Film Project

I’m participating in the 48 Hour Film Project, which is a global competition that requires teams to create a short film—from start to finish—in just 48 hours. If anyone’s ever made a film, you know how difficult that is. That means no sleep. (We won’t even know what genre we need to write to until that same time period.) My team is made up of accomplished filmmakers who have had their films screen internationally, including at some of the world’s top festivals, such as Cannes and Berlin.
We’re looking to raise funds by June 1. The money would go towards feeding our cast and crew, transporting equipment, buying props, etc. Money raised over our goal of $500 will go towards festival submission fees, paying admission for the film’s premiere a week later (yes, we have to pay), etc.
Please consider supporting my team—Team Rude—and my passion by donating any amount at the following link: http://therudeparty.chipin.com/the-rude-party-48-hour-film
To learn more about the 48 Hour Film Project, you can either visit the site (http://48hourfilm.com/) or leave a comment and I’ll reply.
Thanks so much for your support!

ESCAPE FIRE Wins The Kathleen Bryan Edwards Award

(Re-posted from Tweed)

April 16, 2012

Escape Fire: The Fight to Rescue American Healthcare has been awarded The Kathleen Bryan Edwards Award for Human Rights at the Full Frame Documentary Film Festival in North Carolina.

Escape Fire, by Matthew Heineman and Susan Froemke, asks what can be done to save our broken healthcare system. The film examines the powerful forces trying to maintain the current medical industry, which is designed for quick fixes rather than prevention. It premiered at the Sundance Film Festival in January 2012.

To read more about the award click here.

To learn more about the film, click here.

Coming Soon: Sound of My Voice

The thing about the indie film world is that it does not shy away from material that pushes the boundaries. It likes to challenge viewers and get them to think about things of which they normally wouldn’t. It seems that the latest in these “trending topics” is cult life. Last year, Sean Durkin’s Martha Marcy May Marlene introduced us to a disturbing cult world, perhaps not unlike the one we’ll be exploring next in Fox Searchlight’s newest release, Sound of My Voice. The film, which is directed by Zal Batmanglij (yes, the first six letters of his last name spell “Batman”!), is co-written by the director, himself, and one of indie film’s newest darlings, Brit Marling. In fact, the tri-hyphenate Marling also stars in the film and produced it. (Her last effort as writer-producer-star was last year’s independent triumph Another Earth, which shared a stage at Sundance 2011 with Sound of My Voice.)

Continue reading Coming Soon: Sound of My Voice

Official Trailer: Mr. Rogers & Me

[youtube http://www.youtube.com/watch?v=TMXKs6OSrNg]

Premiering on DVD, local PBS affiliates, and iTunes on March 20 (in honor of Mister Rogers’s birthday)

Official Synopsis:

Benjamin Wagner first met Mister Rogers’ Neighborhood creator and star Fred Rogers at Rogers’s summer home in Nantucket, Massachusetts. His mother rented the cottage next door, so Mister Rogers really was his neighbor. On the afternoon of their first meeting, the television icon asked the young journalist about his job as an MTV producer. Wagner felt exposed and a tiny bit embarrassed—a PBS mind in a jump-cut, sound-bit, MTV world.

Mister Rogers said warmly, “I feel so strongly that deep and simple is far more essential than complex.”

One year and many “deep and simple” conversations later, Rogers told Wagner, “Spread the message!”

After Rogers’s death in 2003, Wagner and his brother Christofer set out to meet some of Mister Rogers’s neighbors to find out more about the man himself, what he meant by “deep and simple,” and with whom in our junk food culture those values endure.

Featured in the film are some of the notable personalities whose lives were impacted by their interactions with Mister Rogers. They include Tim Russert (NBC Meet the Press anchor), Susan Stamberg (NPR host), Marc Brown (Arthur author), Davy Rothbart (This American Life contributor), Linda Ellerbee (Nick News host), Bo Lozoff (activist and author), Amy Hollingsworth (author), Beverly Hall (photographer), and Dr. Susan Linn (children’s media expert).

In the end, the brothers come to know more than just the man and his luminous legacy. Their deeply personal journey explores the roots of Mister Rogers’s values, unmasks the forces acting against depth and simplicity, and helps them to develop the means to lead deeper, simpler lives.

2012 Memo to the Academy

(Re-posted from LimitéMagazine.com)

Dear Academy,

Here we go again. The Super Bowl is over, and now it’s time for the real games to begin. You have a hefty task in front of you—choosing who’s most deserving of that little golden guy. With all the hype and buzz around, it’s easy to get confused. Here’s a little help.

Your friends,

Limité’s film staff

BEST PICTURE

Nominees: The ArtistThe DescendantsExtremely Loud & Incredibly CloseThe HelpHugoMidnight in ParisMoneyballThe Tree of LifeWar Horse

Dan QuitérioHugo. For my money, Hugo is the best-composed film of the year—the imaginative performances, the vivid art direction, the crisp cinematography, the rich story—they all come together to provide the audience with a complex and colorful experience, all the while providing it with a lesson in film history without it feeling like sitting in a stodgy classroom. On top of that, the film provides some of the best use of 3D than any other film in recent memory—a format that surely isn’t going anywhere and was lovingly embraced by a true master of filmmaking in Martin Scorsese. No other film last year—except for maybe Midnight in Paris—has the capability of igniting the imagination quite like Hugo. This film reminds us why the film medium is so special.

Predicted Winner: The Artist

Stephanie DawsonThe Artist. I don’t think any of these films are as amazing or as groundbreaking as nominees in previous years. The Tree of Life is polarizing because of it’s “what?!” factor. Extremely Loud & Incredibly CloseThe Help, and War Horse revel in their emotional manipulation of the audience. Moneyball and Midnight in Paris are better writing achievements than complete films. The story momentum in both Hugo and The Descendants keeps sputtering and the central stories change at least twice in each. The Artist is simple, enjoyable from the first frame, and just the right amount of “sweet,” and so it has my vote, unfortunately by default.

Predicted Winner: The Artist

Janice PerezMidnight in Paris. I haven’t seen anything in a very long time that resonated with me on a very intimate and highly personal level the way Woody Allen’s darling of a film did. Maybe it stems from my being a dedicated Francophile, or probably because that film was a beautiful homage to art. Well, whatever the cause, I loved Midnight in Paris to the hilt for being a film that really brought my own fondest imagination to life.

Predicted Winner: The Artist

Continue reading 2012 Memo to the Academy

Q&A: Team from Oscar-Nominated Film “Time Freak”

(Re-posted from LimitéMagazine.com)

Among this year’s Oscar nominees for Best Short Film—Live Action is “Time Freak,” the comedic story of a neurotic inventor who creates a time machine that he uses to travel around yesterday so that he can obsessively correct his social foibles. The short is the only American film nominated in its category. I had the chance to pick the brains of the film’s masterminds, including writer/director Andrew Bowler, his producer wife Gigi Causey, and lead actor Michael Nathanson, just before their big day in Hollywood.

[youtube http://www.youtube.com/watch?v=-_DLkVR7hK0]

Where were you when you found out about the nomination?

Michael: I actually was sound asleep. My wife is a public school teacher in NYC, and she had been up early and found out at work. When she woke me up by screaming into the answering machine, I knew it was good news.

Andrew: We were at home when we heard the news. We got up at 4:45am, unable to sleep anymore. The telecast did not come on ’til about 5:50am, and then the results were posted online shortly after that. We wanted to share the possible moment with our friends and family in different parts of the country, so we shot it.

(Watch this video of Andrew and Gigi finding out they have been nominated for an Oscar.)

[youtube http://www.youtube.com/watch?v=MnwiOYhIExU&feature=youtu.be]

Continue reading Q&A: Team from Oscar-Nominated Film “Time Freak”

Continued Q&A: Team from Oscar-Nominated Film “Time Freak”

This is the continuation of a Q&A with the team from the Oscar-nominated short film “Time Freak” that I conducted for LimitéMagazine.com. For the first part of my interview with writer/director Andrew Bowler, producer Gigi Causey, and lead actor Michael Nathanson, click here.

Andrew, did you go to film school?

I went to NYU’s film school. I think I had a similar experience to most people who go there in that I met my best friends whom I would collaborate with for years and almost no one else. Geoffrey Richman, Michael McDermott, and Adam Fleischhacker are all accomplished filmmakers in their own right and they all worked really hard on “Time Freak.” The four of us all met in the same video class sophomore year. Geoffrey and Mike were producers [on “Time Freak”], as well as the editor and production designer, respectively.

Michael, how and when did you first catch the acting bug? What have been your biggest challenges in developing your style and rhythm as an actor?

I remember being in my first school play when I was in sixth grade, playing the comedic villain in a Gilbert and Sullivan musical, and getting in front of an audience and thinking, “Wow, this is what I want to do.” I was always a film buff, and I had the opportunity to see so many great films, growing up in NYC. It really wasn’t until I got to Northwestern in Chicago and studied theatre that it really hit me that this is what I’m going to be doing with my life. As an actor, kind of like the character in “Time Freak,” you’re always trying to get better, understand the craft more—sometimes it works and sometimes it doesn’t. I feel like I try, whether it’s stage or screen, to give the audience something edgy, something unexpected. I like when an audience is uncomfortable, and yet wants to know more. I think that’s when the most interesting work happens. There’s a fearlessness I admire in actors like Gary Oldman and in comedians like Bill Murray; they are so invested in their character work, you truly feel like anything can happen at any moment. I guess I would say I’m not into ever playing it safe.

Continue reading Continued Q&A: Team from Oscar-Nominated Film “Time Freak”

Review: The Artist

NOTE: This review contains spoilers.

Some time last year, I thought to myself, “Why doesn’t anyone make a silent film today? It would be interesting to see a contemporary filmmaker’s take on early cinema.” And then The Artist came along …

I had been looking forward to seeing The Artist since it screened at Cannes mid-last year. The film follows 1927 silent screen superstar George Valentin (Jean Dujardin) as he holds firmly onto his principles at the expense of his career in the wake of the emergence of “talkies.” Following a chance encounter with one of his fans, Peppy Miller (Bérénice Bejo), who bumps into him (literally), she is immediately bitten by the Hollywood bug. As her acting career takes off in the talking pictures, Valentin’s begins to flounder. It’s the stuff A Star Is Born is made of.

Typically, I’m a sucker for movies about movies, and being a classic film buff, I was excited about the prospects of watching a modern-day silent film set in the ’20s, a pivotal period in early cinema. Having just watched it, I can say that it’s a terrific film. As is the case with any great film, all elements come together to make one great picture—a reminder that the sum should always be greater than its parts. The film, much like its leading man Dujardin, is debonair, classy, and charming. The beautiful black-and-white cinematography by Guillaume Schiffman merges with some dazzling performances by Dujardin, Bejo, and John Goodman (who plays a Cecil B. DeMille-type studio executive).

Continue reading Review: The Artist

Official Trailer: We Need to Talk About Kevin

Official Synopsis:

A suspenseful and gripping psychological thriller, Lynne Ramsay’s We Need to Talk About Kevin explores the factious relationship between a mother and her son. Tilda Swinton, in a bracing, tour-de-force performance, plays the mother, Eva, as she contends for 15 years with the increasing malevolence of her first-born child, Kevin (Ezra Miller).

Based on the best-selling novel of the same name, We Need to Talk About Kevin explores nature vs. nurture on a whole new level as Eva’s own culpability is measured against Kevin’s innate evilness. Ramsay’s masterful storytelling simultaneously combines a provocative moral ambiguity with a satisfying and compelling narrative, which builds to a chilling, unforgettable climax.

[youtube http://www.youtube.com/watch?v=ozm-hlPNGX4]

New Poster Released for WE NEED TO TALK ABOUT KEVIN

The new US theatrical poster for Cannes favorite We Need to Talk About Kevin was recently released. It’s fitting, as the film was just named Best Film at the London Film Festival. It has also been bringing much praise to Tilda Swinton for her portrayal of a mother whose son (Ezra Miller) committed a Columbine-style massacre.

More info. about the film after the poster.

Synopsis:

A suspenseful and gripping psychological thriller, Lynne Ramsay’s We Need to Talk About Kevin explores the factious relationship between a mother and her son. Tilda Swinton, in a bracing tour-de-force performance, plays the mother, Eva, as she contends for 15 years with the increasing malevolence of her first-born child, Kevin (Ezra Miller).

Based on the best-selling novel of the same name, We Need to Talk About Kevin explores nature vs. nurture on a whole new level as Eva’s own culpability is measured against Kevin’s innate evilness. Ramsay’s masterful storytelling simultaneously combines a provocative moral ambiguity with a satisfying and compelling narrative, which builds to a chilling, unforgettable climax.

The film opens in New York and LA for awards consideration on December 9. Its commercial release is slated for January 27, 2012.