Studio
Killer Films Announces Ace Hotel Selections
1/15/2010 at 2:56 PM by Christine Vachon
Killer is extremely excited to finally move into the preproduction phase of our project with Massify and the Ace Hotel. We've selected three films to produce from the final twelve. We chose these projects based on a number of factors; we selected films we believed were most makeable on a micro-budget, films we were confident we could shoot on short schedules, and scripts that all offer a strong, fresh point of view, that are tonally and thematically diverse.
Christine Vachon Producer
Killer Announces the Shortlist for the Ace Hotel Pitches!
11/24/2009 at 1:57 PM by James Sehring
We're thrilled to finally announce our 12 favorite pitches! Many apologies for the delay in announcing... I wanted to make sure that Killer gave each pitch a proper review. After much deliberation, we've pulled together a collection of diverse stories, all with the potential to be memorable little shorts, all taking advantage of the Ace's wonderful aesthetic. The quality of scripts was so high across the board, and to know that so much original content is at our finger tips is really exciting for us. We feel that each of these scripts represents a strong perspective, a unique point of view - Some are fresh takes on classic stories, others are nuanced character portraits. More than anything, they're all great ideas and we can't wait to sit down with the filmmakers and figure out how make it all work. Thanks so much to everyone who submitted. We REALLY enjoyed reading, so keep writing!
>> Read more
James Sehring Producer
Herzog on Directing
11/23/2009 at 1:13 PM by Suraj Das
Writer-director and independent filmmaking legend Werner Herzog recently gave this engrossing interview, posted on the Rotten Tomatoes website. In the piece, Herzog lists his five favorite films, discusses creative decision-making and production challenges on the set of the forthcoming "Bad Lieutenant: Port of Call New Orleans," and compares working with Klaus Kinski to directing Nicholas Cage (who appears to have turned in a truly notable performance in Herzog's latest). A fascinating read, for dedicated Herzog fans and newbies alike.
If you're unfamiliar with Herzog's oeuvre, now is as good a time as any to start making your way through his groundbreaking body of work. I recommend starting with the 2005 documentary, "Grizzly Man," because it is at once accessible and complex; the premise of the doc is deceptively simple, but the themes and ideas running through the film are anything but. If you enjoy "Grizzly Man," you're going to want to start plowing through Herzog's earlier German masterpieces as soon as possible. Luckily, much of his work, including the essential "Aguirre: The Wrath of God," "Stroszek," and "The Enigma of Kaspar Hauser," are now widely-available on DVD and can be streamed on-demand on Netflix Instant Watch.
Suraj Das Writer, Director
The Best of a Decade of Film and Television
11/19/2009 at 5:31 AM by Suraj Das
As 2009 draws to a close, critics have already begun compiling their lists of the finest and most influential films and television shows of the last ten years. But I want to know what YOU - the members of the Massify community and the future of filmmaking - thought of the last decade. Consider this post a call to action; I am eager to hear some strong opinions and coherent theories about the direction you think film and television has taken since the year 2000.
Start by refreshing your memory and considering some of the criticism that's already been written on the subject. A.O. Scott of The New York Times has written this very insightful and thought-provoking analysis of the last ten years in film, and The Onion just recently published this article profiling the best television shows of the last decade.
Suraj Das Writer, Director
Jon Reiss Presenting Tonight at IFC
11/17/2009 at 10:13 AM by Eunsun Hwang
November 17th Inaugural Presentation for "A New World: A User's Guide for Filmmakers and Audiences" Book signing to follow.
In this special series hosted by Filmmaker Magazine, experts on the new, digital-era ways of financing, distributing, marketing and building an audience for independent film will relay their hard-earned practical advice and strategies. Learn how the industry is shifting and providing fresh opportunities for films and audiences to connect in new ways. Technology is changing all the rules -- we’ll track the new revenue sources being created for filmmakers and help audiences navigate the expanding options. In a presentation full of practical advice and hard information, filmmaker Jon Reiss ("Bomb It"), the author of the recently released Think Outside the Box (Office): The Ultimate Guide to Film Distribution and Marketing in the Digital Era" will teach how to create unique, distribution and marketing plans for independent films from do it yourself to hybrid approaches. He will outline what filmmakers need to do to prepare for distribution while making their films. Finally he will lay out ways in which filmmakers can take back and redefine the theatrical release utilizing a combination of conventional theaters, community screenings and festivals.
Check out the link below for more details:
http://www.ifccenter.com/films/thinking-outside-the-box-office/
Jon Reiss Producer, Director
Killer Selection of Concept To Be Announced Soon
11/17/2009 at 7:59 AM by Christine Vachon
WOW. We've got more than 300 scripts to read, and with more than half being submitted right under the deadline, we're still trying to find time to give every pitch the sort of thorough review they each deserve. That means reading each script, watching each pitch video, taking notes when we can, but mostly arguing over which ideas are our favorites and why. There have been some really surprising, intelligent approaches to this project, and we're excited about the overall quality on the site right now - so many of these scripts possess a clear vision and with the Ace's support, we know that they're almost all makeable. Not having to worry about locations, just working with actors, setting up the perfect shots and getting all of the best stuff on screen... it will be a real breath of fresh air! Even considering the wealth of unique approaches that were taken by writers, there's also a really cool overlap in the sort of themes and aesthetics that are being utilized, which has gotten us excited about what a collection of these shorts would look like when pulled together.
We're looking forward to narrowing the field in the next couple of days, and participating in a more involved development process with the community in the coming weeks, so please bare with us and be patient while we give each individual project its due.
Thanks so much to everyone who was bold and creative enough to put their work on display.
Christine Vachon Producer
D-SLR Video Races Ahead with the Canon EOS-1D Mark IV
11/12/2009 at 5:58 AM by Suraj Das
Watching Vincent Laforet's exciting new short, Nocturne, it's hard to imagine that the entire film was shot using only available light. But it's just a matter of time before feats like this become commonplace in digital filmmaking; new D-SLR cameras with HD video capabilities now feature ISO settings that are more sensitive to light than the human eye (the recently announced Canon 1D Mark IV, which was used to shoot Nocturne, will feature a maximum sensitivity of 6400 when shooting video). This terrific blog post by Laforet offers and in-depth analysis on the production and post-production work flow of the film.
>> Read more
Suraj Das Writer, Director
What I've Learned From The Festival Process, Part II: Making The Right Submissions
11/9/2009 at 7:50 AM by Suraj Das
Ask most filmmakers which festivals they are trying to get in to with their recently finished film, and you're bound to hear the same responses over and over; it seems almost everyone is gunning for the limelight at festivals like Cannes, Sundance, and Tribeca. But what happens if you don't get programmed at a single one of these high-profile events? What does it say about the quality of your film and its prospects for finding an audience?
Every year, scores of terrific films are rejected by the big festivals but still go on to find a passionate audience, garner press coverage, and create career opportunities for filmmakers. The key to engineering a successful festival run for your film requires that you know what your goals are for your film and your career.
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Suraj Das Writer, Director
Arranged: The Musical (2009) Romance, Comedy, Musical
What I've Learned From the Festival Process, Part I: Before You Submit Your Film
10/27/2009 at 8:13 AM by Suraj Das
Submitting a film to festivals and managing to make the most of each screening can easily become a confusing and overwhelming task. Many filmmakers focus their energy on honing creativity and craft, and assume (as I once did) that the quality of their work alone will guarantee a long and rewarding festival run. The unfortunate truth, however, is that it is as difficult (if not more so) to find an audience for a completed film as it is to produce the film in the first place. Having just lined up a slate of fresh festival screenings for my latest short film, Arranged: The Musical, I thought I would share some worthwhile advice (stuff I wish someone had told me before I started submitting) on successfully navigating the festival circuit with your film.
>> Read more
Suraj Das Writer, Director
Arranged: The Musical (2009) Romance, Comedy, Musical
Episode 4: What's Wrong With Chloe?
10/16/2009 at 3:55 PM by Amy Allen
Robin and her team have a bit of a scare when their lead actress starts to overheat while shooting a scene.
A Very Non-Boring Title Sequence
10/15/2009 at 9:47 AM by Amy Allen
Beautiful, illustrative typography is the most interesting character in the awesome Bored To Death title sequence, which manages to invoke the show's setting - NYC - while still keeping the words front and center. Also, this is a rare instance of the page-turning motif actually working. Make sure to read Art of the Title's interview with the sequence's creator, Tom Barham of Curious Pictures, and click on the image above to play the sequence.
I love posting creative title sequences here because a unique introduction really sets your film apart. Does anybody here have experience creating memorable opening sequences? If so, what are your suggestions?
Johnny Rosenthal wins spec script lottery
10/14/2009 at 10:43 AM by Jessica Kantor
Sony Hires Helmer to Know “Jack”
Sony has tapped Mark Palansky to direct action-adventure “Iron Jack,” a project that sparked a bidding war last year. Todd Garner is producing through his Broken Road Prods. banner with George Heller and Jeremy Bell exec producing. The story, set in the 1930s, centers on a renowned novelist and his quest for a legendary treasure. Sony snapped up Johnny Rosenthal’s spec for $1.25 million against $2 million, topping offers from MGM, CBS Films and Spyglass.
Hometown Distribution
10/13/2009 at 6:44 AM by Amy Allen
We try to give filmmakers a forum here to discuss their projects. Director Vincent Alston answered some questions about his film, For Love of Amy, which was shot and had its premiere in Omaha, Nebraska.
Q: Can you tell me a little bit about the film 'For Love of Amy', how long it took to write it, to film it, to edit it, etc.
Vincent: The initial draft for “Amy” took about there to four months. I spent about a year and a half on rewrites. We shot the film in a blistering hot twenty three days. FOR LOVE OF AMY was edited by Tom Elkins (Haunting in Connecticut, White Noise 2) who, because of other obligations, was called away several times. As such, the film took about a year to edit.
Your Film & Copyright Law
10/13/2009 at 6:44 AM by Veronica Nickel
Copyright law is scary for most people. It seems like any misstep could be costly. This must be why filmmakers are so concerned about breaking the law. I highly recommend the book Clearance and Copyright by entertainment lawyer Michael Donaldson. While the thought of reading a book on this subject may be as compelling as watching paint dry, it could save you precious time and money. I promise.
The call I usually get sounds something like this: "Hey, quick question. There is an XYZ sign in the background and the owner won't let us move the soda machine. What is the rule about that, again? Do we have to change everything?"
Is Transmedia The Answer?
10/12/2009 at 4:09 PM by Amy Allen
Whenever I hear a conversation about transmedia storytelling - the idea that multiple threads of your story can exist and thrive on multiple platforms - being a major way to draw audiences to your indie film, I have the same thought: Transmedia is a great idea, but it works best for a very specific type of movie, and that doesn't happen to be the type of movies I want to make. I assume many other filmmakers must feel the same way.
