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Showing posts with the label interview

PRODUCTION JOURNAL: Karlovy-Vary Film Festival 2015 Round-Up

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The Karlovy Vary Festival is one of the oldest in the  world  and has become  Central and Eastern Europe’s  leading film event.  Here are 2015's winners: Crystal Globe Winner (Grand Prix) Bob and the Trees  (USA, France) – director, Diego Ongaro Bob and the Trees  is a 2015 verite drama film that won the  Crystal Globe  at the  Karlovy Vary International Film Festival .  Shot in  The Berkshires ,  Bob and the Trees  follows farmer and logger Bob Tarasuk (played by himself), his son and business partner Matt (Matthew Gallagher), and Bob's wife Polly (Polly MacIntyre) as they work to earn money during winter.   The film, Diego Ongaro's feature-length directorial debut, premiered in the noncompetitive Next  section of the  2015 Sundance Film Festival  in January 2015, where it was met with warm critical reception. According to the website, "Bob and the Trees is proud to be one of the first feature films shot on the Black Magic Pocket Cinema Camera." No

SCRIPT TO SCREEN: The Varied Paths of Playwright-Screenwriter-Director-Producer, Alexander Dinelaris

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On Jan. 11, 2015, we watched 3 men join  Alejandro González Iñárritu  to receive their Golden Globe awards for the best screenplay , Birdman . One of these men was Alexander Dinelaris Jr ., a multi-hyphenate New Yorker. A.B. Lugo was prescient enough to interview Mr. Dinelaris in December, 2014 for El Blog de HOLA , a blog that supports, promotes and informs the Latino acting community. During the interview, Mr. Dinelaris discusses his background and how it inspired his writing, how he writes, how his success in playwriting opened the doors to screenwriting and how important it is to stay true to your voice and learn your craft. Reposted with permission. Original posting: El Blog de HOLA - Dec. 11, 2014  by A.B. Lugo Alexander Dinelaris  is a man of many talents– what we call in Spanish " polifacético "– he is a playwright, screenwriter, director, producer. He has worked with some of the giants in this industry, from filmmaker Alejandro González Iñárritu to music ico

SCRIPT TO SCREEN: Andrei Tarkovsky - A Compendium

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ANDREI TARKOVSKY : BAM Cinematek just wrapped up a 2-week run of The Sacrifice and I've been on a Tarkovsky bender watching his films on Hulu. But I'll be the first to admit that when I first started watching his films ( Solaris ), I was confused. I didn't understand what was going on and the pacing was not what I was used to for a sci-fi film. But the power of the film's sounds and imagery remained deep inside me and I couldn't stop wondering about what I saw and the hauntingly beautiful images that appeared throughout the film. As I watched more of his films, the more I realized that Tarkovsky's films are a rich meal of visual poetry for those willing to savor his cinematic flavors. It is no wonder why he is worth the time to listen to when it comes to creating art. Even if you haven't watched all of his works, you have probably heard of him and his influence on cinema. To get a glimpse of his genius for creating visual poetry, watch this short coll

SCRIPT TO SCREEN: the art of storyboarding with Terry Gilliam

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In this video, Terry Gilliam discusses how storyboarding helps him visualize, refine and even change the script for his movies.  Lots of good insight into his thought process and filmmaking workflow. Regarding this video and it's usefulness to filmmakers, David Kendricken at Nofilmschool wrote: "Gilliam says something interesting immediately, and that is his use of drawing sometimes during the writing phase. Storyboards in a strict sense are traditionally done once a script has reached a certain plateau of finality — meaning it may not be locked outright, but only relatively minor alterations will be made in subsequent drafts. Gilliam here describes his storyboarding process sometimes affecting the script as new visual ideas come out, which is an interesting inversion of convention as I see it. He highlights the benefit of using storyboards as the skeletal basis of a scene’s structure, allowing out-of-sequence shooting to work just as well as shooting in-