Sundance Film Festival

IFH 220: How to Package an Indie Film for Investors with Tiffany Boyle – Indie Film Hustle

By Alex Ferrari

How to Package an Indie Film for Investors with Tiffany Boyle Today on the show is Tiffany Boyle from Ramo Law. Tiffany helps indie filmmakers package their projects in a way that helps them attract producers, investors, other top-end actors, and studios. We had a great conversation at this year’s Sundance Film Festival. Here’s some info…

The post IFH 220: How to Package an Indie Film for Investors with Tiffany Boyle appeared first on Indie Film Hustle.

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From:: Indie Film Hustle

15 Upcoming Horror Movies To Look Forward To In 2018

By Vlad Albescu

2017 wasn’t really the best year for horror films. With the exception of “Get Out,” “Raw,” and to a lesser extent, “Annabelle 2: Creation,” “Gerald’s Game” or “It,” there weren’t too many horror films worthy of being mentioned. However, when it comes to horror films, 2018 already looks more hopeful.

Some classic horror films are getting promising remakes or sequels, great directors like Steven Soderbergh and Lenny Abrahamson are making their debuts in the horror genre, and on #7, we’ve got a film that has already been called “the scariest horror movie in years.”

The following list features 15 upcoming horror films that we’re looking forward to seeing this year. Let us know in the comments which of the following titles you think will have the most potential of being great films, and what other horror movies you’re expecting this year.

1. Summer of ’84
Release date: January 22, 2018 (Sundance Film Festival)

“Summer of ’84” is said to be a film in the same vein as “Stranger Things,” but instead featuring serial killers.

A group of kids spends their summer spying on their neighbor, who they suspect is a serial killer. As they come closer to discovering the truth, things get dangerous.

This film was shown at the Sundance Film Festival where it has received mixed reviews. Many criticized its overuse of the nostalgia factor and called it inferior to “Stranger Things.” Others praised its dark, more mature take on the genre and praised its unexpected ending. However, with only five reviews on Rotten Tomatoes at the moment, it is too early to judge this film and we are looking forward to a proper release.

2. Winchester
Release date: February 2, 2018 (USA)

“Winchester” stars Oscar winner Helen Mirren and is directed by the brothers Michael and Peter → continue…

From:: Taste Of Cinema

Public Record Premieres “We the Animals” at Sundance Film Festival

By Press Kitchen

Park City, UT

Brooklyn-based production and entertainment company Public Record premiered their first narrative feature film, We the Animals, at the 2018 Sundance Film Festival this weekend to critical acclaim. Hailed by IndieWire as ‘This Year’s ‘…

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From:: Shoot OnLine

“A Mournful Look that Subtly Highlighted the Character’s Main Struggle”: DP Konstantinos Koukoulios on Pity

By Filmmaker Staff

Greek director Babis Makridis premiered his debut feature L at the Sundance Film Festival in 2012. He returned to the festival this year for his follow-up, the dark comedy Pity co-written by the co-writer of Yorgos Lanthimos’s films. The film stars Yannis Drakopoulos as a self-absorbed sad-sack addicted to the pity of others. Pity was shot by Konstantinos Koukoulios, here making his debut as a DP of features. Koukoulios spoke with Filmmaker about the influence of Edward Hopper on the movie, lighting a forest at night and his primary aesthetic goal: to make a film about sadness that doesn’t look sad. Filmmaker: How and why did […] → continue…

From:: Filmmaker Magazine

Sundance 2018: Career Advice from Nick Offerman and Jason Mantzoukas

By Rin Ehlers Sheldon

One of the many joys of attending the Sundance Film Festival is sitting in the Cinema Cafe at Filmmaker’s Lodge on Main Street. Apart from the more formal panels, these intimate morning gatherings are an opportunity to marinate in war stories and anecdotes from artists and filmmakers, as they give a glimpse into their lives and projects. Sometimes Steven Soderbergh tells you he’s forswearing all cameras but the iPhone. Other times, Nick Offerman and Jason Mantzoukas split open the ribs of a hundred or so strangers and break out into random song. Here are a few gems that were slid in between the jokes.

Nick Offerman & Jason Mantzoukas in a Cinema Cafe panel moderated by director Hannah Fidell.

1) “Don’t work with assholes.”

At certain points in one’s career, it can feel like you don’t have much choice in this matter, but for most of us, freelancing gives us more freedom than we’re willing to take. It’s a great deal easier to work with the devil you know, but if you’re feeling a little stuck, there’s a good chance you could change your trajectory by changing the crew with whom you roll. Both Mantzoukas and Offerman spoke to choosing gigs based on the character of the people working on them.

2) “To Sit and Wait is Dangerous.”

A young actor in the crowd asked about biding one’s time while waiting by the phone for the next gig to come in. Offerman quipped, “You know, they make phones you can take with you now,” while Mantzoukas implored the young hopeful to get out and create. This applies to individuals who work on both sides of the camera. If you’re out of work, make some calls. Join up on someone else’s passion project. Go to → continue…

From:: Cinema 5d

“In the Edit Room I Found My Voice”: Editor Helen Kearns on Inventing Tomorrow

By Filmmaker Staff

Los Angeles-based editor Helen Kearns has cuts seven documentary projects since 2013. She recently served as the editor on Netflix’s The Keepers, the tennis doc Serena and The Music of Strangers, a feature on Yo-Yo Ma’s the Silk Road Ensemble. Her most recent project as editor is Inventing Tomorrow, a doc on the students competing at the world’s largest high school science competition. The film, from director Laura Nix (The Yes Men Are Revolting), screened in competition at the 2018 Sundance Film Festival. Kearns shares her thoughts below on what drew her to the project. Filmmaker: How and why did you wind up […] → continue…

From:: Filmmaker Magazine

What does Darren Aronofsky’s 7-figure VR deal mean for the future of VR? – Sundance 2018

By Graham Sheldon

For nearly half a decade, Sundance Film Festival has been ahead of the curve in providing a space for which Narrative VR filmmakers could show their work to the masses in their New Frontier venues. The biggest tech news out of Sundance this year is the sale of the Darren Aronofsky produced VR project: Spheres. It went for a reported 7-figures. That’s right, it seems you can make money in VR now as an independent producer, or is this a flash in the pan for a medium that hasn’t yet quite found its footing?

Image Credit: Protozoa Pictures

Distribution company, CityLights, has acquired the 3-part VR series, Spheres, in what seems to be the largest VR acquisition to date. We haven’t been able to independently confirm the exact sale price, but VRScout has put the number in the realm of 1.4 million.

Directed by Sundance newcomer, Eliza McNitt, Spheres allows you to explore black holes and the far reaches of space in a VR environment. The first episode (Songs of Spacetime) is on display at Sundance 2018 at The Ray theatre. You can find the trailer below:

1.4 million is an eye popping figure in the indie world and an unheard of number for a VR project — even one narrated by big name talent such as Jessica Chastain and produced by Aronofsky.

Distributer CityLights is making a gamble here that Spheres can find a route to profitability. We’ve seen lots of enthusiastic VR production over the past several years, but much of that production has been funded entirely by brands using the medium to help market other projects or products — not through ticket sales. Even Spheres was created through a → continue…

From:: Cinema 5d

“I Kind of Resist Definition… That’s the Realm that I Work In: Boots Riley on Writing and Directing the Out-There Sundance Hit, Sorry to Bother You

By Miriam Bale

Before his directorial debut with Sorry to Bother You at this year’s Sundance Film Festival, Boots Riley was known for his role in the hip hop group The Coup. But Riley had been a film student before he found fame through music, and 25 years later he’s circled back to that original ambition with a wild film about capitalism, race and his hometown of Oakland. The film, one of the most talked about films at the festival (and which was bought by Megan Ellison’s Annapura Pictures), stars Lakeith Stanfield, Tessa Thompson and Armie Hammer in, not the future, but an […] → continue…

From:: Filmmaker Magazine

“Like a Long Mosaic Music Video that I Didn’t Want to End”: Editor Jason Gourson on Blaze

By Filmmaker Staff

The first fiction feature film from actor Ethan Hawke since 2006’s The Hottest State, Blaze tells the story of the relatively unsung country musician Blaze Foley. The film’s star, Benjamin Dickey, won the Special Jury Award for Achievement in Acting at the Sundance Film Festival last week. Hawke hired editor Jason Gourson (The Magicians, Glee) to cut his impressionistic biopic. Below, Gourson speaks with Filmmaker about collaborating with Hawke and growing up as the son of a film editor. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that […] → continue…

From:: Filmmaker Magazine

Sundance 2018 – Meet the Cinematographers: Laela Kilbourn

By Graham Sheldon

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time.

A film still from This is Home by Alexandra Shiva, an official selection of the World Cinema Documentary Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by Gidalya Pictures

DP: Laela Kilbourn
This Is Home: A Refugee Story (dir. Alexandra Shiva)
World Cinema Documentary Competition
Canon EOS C300 EF MK I
Canon 24-105mm f4 EF zoom
Canon 17-120mm Cine-Servo T2.95 EF zoom
Canon 70-200mm f2.8 Version II EF zoom
Canon 24-70mm f2.8 Version II EF zoom

cinema5D: Why did you choose this particular camera body?

LK: I starting shooting with the C300 when it first came out, and have shot many films on it since. (I own it as well.) I work primarily on verité documentary features and find it well suited to the work process: its design is accessible, modular, compact, and lightweight. I’ve always been partial to the Canon color space. I like its overall warmer feel and how it handles skin tones, and the color rendition is such that I can bake in a certain amount of “look” while still being able to fine tune the color in post without loss of quality.

cinema5D: How about the lenses?

LK: We started out filming primarily on the 24-105mm f4 EF zoom because we wanted a compact, low-impact camera profile, but as our film subjects became more comfortable with the process we switched to the Canon 17-120 Cine-Servo T2.95 EF zoom. We wanted a wider focal length range, sharper focus, and more beautiful soft focus. cinema5D: What was really pivotal for you on either production?

cinema5D: Did you use any new → continue…

From:: Cinema 5d

“That Sweet Spot of Story and Science”: Editors Dan Swietlik and Stephanie Mechura on The Game Changers

By Filmmaker Staff

Louie Psihoyos, the Oscar-winning director of The Cove, returns to the Sundance Film Festival with The Game Changers, his new documentary on the health and environmental impacts of plant-based diets. Psihoyos premiered his previous doc, Racing Extinction, at the festival in 2015. To edit Game Changers, Psihoyos hired seasoned doc editor Dan Swietlik (An Inconvenient Truth, Sick0) to cut the film. He soon brought on a second editor, Stephanie Mechura (The Price of Sex), to help finish the job. Below, Swietlik and Mechura share their experiences on cutting The Game Changers. Filmmaker: How and why did you wind up being […] → continue…

From:: Filmmaker Magazine

“Any Good Script Deserves its Own Visual Identity”: DP Steven Capitano Calitri on A Kid Like Jake

By Filmmaker Staff

In the past two years, Silas Howard has directed episodes of the TV series Transparent, This Is Us and The Fosters. He premiered his new feature, A Kid Like Jake, at the 2018 Sundance Film Festival. The film is an adaptation of a 2013 play by Daniel Pearle and stars Claire Danes, Jim Parsons and Octavia Spencer. Howard hired Steven Capitano Calitri – the DP on 30 episodes of Broad City – to shoot the film in New York. Below, Calitri speaks with Filmmaker about his experiences making the film. Filmmaker: How and why did you wind up being the […] → continue…

From:: Filmmaker Magazine

“‘Slow Burn’ Was a Phrase We Used Often:” Editor Abbi Jutkowitz Lizzie

By Filmmaker Staff

Abbi Jutkowitz has worked as an assistant editor on a number of films since 2004, including Super Size Me, The Darjeeling Limited and X-Men: First Class. In 2016 she edited As You Are, which premiered at the Sundance Film Festival, and she returned to the festival this year with the in-competition drama Lizzie. The film tells the story of Lizzie Borden, the Massachusetts woman who was tried and acquitted of killing her parents in 1892, and stars Chloë Sevigny as Borden and Kristen Stewart as her live-in maid and confidante. Jutkowitz spoke with Filmmaker before the film’s premiere about how she got her […] → continue…

From:: Filmmaker Magazine

Sundance Institute 2018 Recipient

By Eli Williams

Sundance Institute 2018 Recipient for Merata Mita Fellowship for Indigenous Artists For the third consecutive year, Sundance Institute has chosen an Indigenous filmmaker from a global pool of nominees to award grant and provide a year-long continuum of support with activities including a trip to the Sundance Film Festival, mentorship opportunities, and access to strategic […]

The post Sundance Institute 2018 Recipient appeared first on Below the Line.

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From:: BLT News

Sundance 2018 – Meet the Cinematographers: Matt Porwoll

By Graham Sheldon

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time. Meet Matt Porwoll, DP of The Trade.

Still from The Trade. Courtesy of Sundance Institute.

DP: Matt Porwoll
FILM: Showtime’s The Trade (doc series)
CAMERA: Canon C300 MarkII
GLASS: Canon EF Series

cinema5D: Why did you choose this particular camera body?

MP: We needed a camera that was small, good in low light, had high dynamic range, and capable of recording good quality audio. To me, there was no better choice than this setup.

cinema5D: How about the lenses?

MP: We needed to keep our camera package light and compact. This lens list gave us a huge range of focal lengths without having to carry a lot of gear. While we shot 90% on the zooms, we had the 24mm prime for extreme low light shooting situations.

cinema5D: Did you use any new tech or tools for this shoot?

MP: We kept our camera package as slim as possible, and gave ourselves restrictions on gear to
maximize the creativity. We didn’t use gimbals, sliders, etc and stuck to traditional handheld
verite for our shooting style. We did employ a drone in each city for high angle perspective shots
of the areas our characters existed in.

cinema5D: Any go-to glass filtration in your kit?

MP: Since we were shooting with EF lenses that have a clicking iris, we used variable ND filters to
subtly adjust exposure while being able to maintain a consistent shooting stop on the lens –
generally an f4. We also had a polarizer for landscapes and establishing shots.

cinema5D: Other than the camera package, what was a pivotal piece of your kit?

MP: Our camera team was not only shooting, but → continue…

From:: Cinema 5d