Valerie Weiss finds that trial and error can be scary when editing, adding animation, and mixing sound, but it can also bring the filmmaker’s vision, finally, to life.November 30th, 2010 | Valerie Weiss
Filmmaker Valerie Weiss shares her experiences financing, planning, and producing her independent feature film, Losing Control, through a behind-the-scenes series. In this installment, Weiss writes about how she chose and collaborated with her editor, colorist, sound mixer, and others involved with the tricky but rewarding post process.
In my last film journal, I talked about the production of my feature independent film, Losing Control, a quirky, romantic comedy about a female scientist who wants proof that her boyfriend is “the one.” I discussed the trials of production—locations falling through, lack of sleep, and stretching an already
Katherine Brodsky spoke with the now departed filmmaker in Toronto.November 23rd, 2010 | Katherine Brodsky
From a childhood of activism to the Reagan campaign of 1984, the late George Hickenlooper wrestled with politics on and off screen. He discussed his final effort, Casino Jack, a fictional re-telling of lobbyist Jack Abramoff's rise and fall, opening on December 17th, with The Independent.
There’s no doubt that making a political film was meant to be in Casino Jack director George Hickenlooper’s future.
Kurt Brokaw reviews two new docudramas that take their cues from pulp fiction, true-crime, and journalism.November 15th, 2010 | Kurt Brokaw
After 2003's Capturing the Friedmans, the indie world finally hears again from director Andrew Jarecki with All Good Things. Critic Kurt Brokaw reviews it here with the late George Hickenlooper's Casino Jack. Both docudramas toy with Brokaw's genres of choice: pulp and true-crime.
All Good Things
(Andrew Jarecki. 2010. USA. 132 min.)
(George Hickenlooper. 2010. USA. 108 min.)
Randi Cecchine challenges the documentary community to pull together, avoid the pratfalls of pleasing too many constituencies, and maintain open dialogue about the reality of getting docs funded and seen.November 4th, 2010 | Randi Cecchine
In anticipation of this month's Distribution U, hosted by IFP, The Independent's Randi Cecchine continues to investigate the changing landscape of documentary funding and distribution with notes from the field and a call for community.
Anyone who cares about documentary filmmaking wants to know: In the current post-financial crisis, insecure-industry environment, how can filmmakers fund projects and reach audiences when traditional distribution models have crumbled...when even established filmmakers can’t secure the kinds of distribution deals, broadcast partnerships or investment/foundation funders they used to rely on?