» Posts Tagged ‘sxsw’
What’s the most important aspect of a film? Acting? Cinematography? Plot? To some, these are all crucial components that lead into the most important expression of a film: tone. However, setting the tone of a film is one of the most difficult things to do. Kat Candler’s Hellion, starring Aaron Paul, Juliette Lewis, and a handful of emerging young actors, is a film that’s all about tone — the 13-year-old, heavy metal, motocross kind. Read our interview with Kat Candler, where she talks about anything from the dance of shooting handheld on the ALEXA, starting Hellion as a short, and the current heyday of independent film in Texas. More »
Being a director requires a certain persistent stubbornness to get a film made the way you want it. In the case of Ben Knight and Travis Rummel, this meant saving money for six years to buy the RED EPIC, having strict rules about shooting on tripods (even underwater), camouflaging oneself to film unnoticed at demolish sites, and editing every frame of the film in unadulterated 4K. The payoff? A breathtaking film that won the SXSW Audience Award and is opening on the big screen this weekend. In the No Film School interview below, find out how the filmmakers of DamNation made their cinematic doc, and where you can catch it in theaters. More »
How many dimensions do you need to tell a story about the most potentially life-altering breakthroughs of the future — science that might let you live forever? After shooting about a third of production in 3D, the filmmakers behind The Immortalists decided to scrap a stereoscopic shoot and opt instead for the intimacy of DSLR, a cerebral world of animation, and an experimental sound design based on water, clocks, and the internal organs of a fish. Below we interview co-directors David Alvarado and Jason Sussberg, along with their sound designer Peter Albrechtsen about their film that premiered at SXSW and is showing next week at HotDocs. Hit the jump to hear about anything from the schizophrenic nature of editing to recording bugs in windowsills. More »
Shooting a film on Super 16 is about as rare these days as, I don’t know, spotting a unicorn. So when Fuji shipped out some of the last of their stocks for production of her first film, Leah Meyerhoff didn’t know it would be one of the last features shot on Super 16. Just after the SXSW Film Festival premiere of I Believe in Unicorns, Meyerhoff sat down along with her two lead actors, Natalia Dyer and Peter Vack, to talk to No Film School about anything from intentionally fogging film green, to the surprising freedom that using a restrictive medium like 16mm can offer. Check out the full interview, as well as a behind-the-scenes clip, below. More »
Sure, we’re all a bunch of gear junkies, but in some ways we know, a camera is a camera is a camera. It’s just as important for every production to have a good (or at least decent) concept, and therefore, a good reason to use one camera over the other! From scrapping a 3D production to saving up for six years to buy a RED EPIC, the excerpts below from a handful of different, but very talented, SXSW filmmakers are centered around one question: what did you shoot on and why? More »
SXSW saw tons of great minds — filmmakers, executives, and creatives — come through and participate in panel discussions (some of which we had the pleasure of attending). Indiewire has compiled some great filmmaking advice shared at several of these panels by some incredibly talented and influential industry professionals, including producer (now Fandor CEO) Ted Hope and filmmaker Lena Dunham. Continue on to check out what they said. More »
You busted your butt to make a damned good film. Now what? If you’re hoping somebody like Magnolia Pictures will swoop in and give you a distribution deal after you send them a DVD, you might be sorely disappointed when they turn you down. If only you had gone to the SXSW Panel After the Wrap: Finding the Right Distribution Partner, maybe things would go differently! Luckily, No Film School attended for you, and below are the three most salient points that might maximize your chances of getting picked up. More »
Keeping up to date with what’s currently happening in the cinematic world is certainly an important part of being a filmmaker, as is being able to recognize and anticipate changes. We’ve heard many thoughts on where the future of cinema and filmmaking is headed, from the transmediatic, multi-celled film to the end of TV as we know it. Adding to the discourse through their new series of (very) short SXSW video interviews is Wipster, who asked industry professionals, like reps from Blackmagic, Adobe, and Vimeo, what they saw in the future of video. Continue on to find out what they said. More »
It’s been over 20 years since avant-garde, psychomagic auteur Alejandro Jodorowsky made a film. To the delight of cult followers everywhere, this year’s SXSW Film Festival featured his much buzzed-about return to cinema with the semi-autobiographical film The Dance of Reality. Just before the North American premiere, Jodorowsky sat down and talked with eccentric enthusiasm about anything from writing scripts to why he hates 3D. Below is a look at some of the most outrageously enjoyable moments of his conversation. More »
Following the announcement of their plan to invest $10M to help support filmmakers utilizing Vimeo on Demand for direct distribution, Vimeo has unveiled their newly redesigned VOD platform at SXSW. The new design is aimed at creating a more organized way to discover and browse films using both genre categories and their new “film collections” feature. What does this mean for indie filmmakers? Well, a more user-friendly experience will help audiences navigate the site and bring more potential viewers to your film. Continue on to find out more about Vimeo’s new changes, as well as how you could potentially get your hands on a piece of that $10M. More »
Recently here on NFS, we have written about the strategies of making a short in the hopes of leading to a feature and making a teaser before shooting the feature to build an audience and generate interest. Sometimes, however, a short is made to be a short, and only after acclaim garnered from various film festivals and critics does a filmmaker consider the possibility of expanding it into a feature film. Such is the case of Short Term 12, a feature-length film written and directed by Destin Cretton from his Academy Nicholl Fellowship winning screenplay, which was based on a film school thesis he never intended to make as a feature. Check out a short vignette on Cretton, as well as an interview with the writer/director to learn more about his personal journey and how his critically acclaimed short became a critically acclaimed feature. More »
The filmmakers behind the new, entirely found-footage documentary Our Nixon weave an eclectic portrait of one of the most peculiar American Presidents and best Futurama talking heads ever: Richard Nixon. This doc is no historical snooze-fest, but an “Anti-Nixon-Film Film” revealing never-before-seen private Super 8 movies filmed by Nixon’s youthful White House Aides. (The contemporary version might be like stumbling onto Malia Obama’s iPhone with two years of Vine videos that had never been uploaded.) While waiting for a delayed flight to the SXSW film festival, Producer Brian L. Frye sat down with NFS to give us insight about how they pulled off the film, from before-and-after 4k scans, to standing up for your fair use rights as a filmmaker. More »
The Digital Bolex D16 has been one of the most anticipated products in recent memory for the indie film community. Since it was first announced via Kickstarter over a year ago, and since it blew past its funding goal, Joe, Elle, and the team at Ienso Electronics have been incredibly busy taking customer feedback and zeroing-in on additional features for the camera. While it has taken quite a bit longer than those involved with the product design had anticipated, the finalized version of the D16 appears to be right around the corner. Joe and Elle were at South by Southwest last week showing the final design of the camera and fielding questions. Below is a quick video of Mike from the Digital Bolex team with the final version of the D16. More »
It’s the stuff of dreams. Omar Mullick and Bassam Tariq started out on a no-budget journey to make their first film about one man, a non-proselytizing humanitarian in Pakistan named Edhi. The film, These Birds Walk, just premiered at SXSW to sold out crowds, with Oscilloscope Laboratories coming on board in their first-ever producing role; the film will probably play in theaters later this year. Our Q&A follows. More »
If you’re like me, you probably weren’t at this year’s SXSW festival — but through the magic of the internets we can still reap some of the knowledge shared there. Filmmaker Magazine’s blog covered two filmmaking related panels, “The Great Cinematography Shootout” and “Making it Happen: Financing an Independent Film”, and boiled each down to 10 ponderable tips. The first panel looks at how cinematographers handle low budget constraints while the second provides insight into what independent producers face while putting films together: More »
I’m sure you’re aware that the music/film/interactive superfest SXSW is currently underway in Austin, Texas. Given this is a film-specific site, you’d expect me to cover the film festival portion of the festival, right? Well, it’s being well-covered by those who are actually in attendance. But I did want to share something related to the interactive side of the fest: a bundle of applications and software tools for startups and web entrepenuers. I get a fair number of questions from readers about monetizing a web site, so I figured this would be of interest to some of you: More »
As the SXSW music/interactive/film superfest kicks off in Austin this weekend, I was reminded of a comment made by this week’s interviewee Barry Jenkins. His film Medicine for Melancholy originally premiered at SXSW ’08, and later kicked off Independent Film Week (where I saw it). During the Q&A, Barry was asked where he’d found all the wonderful independent music in the film. His answer (I’m paraphrasing here): “I keep a playlist of songs in iTunes by unsigned bands that I think might work in a film.”
In this vein, SXSW offers a great opportunity even for those filmmakers who aren’t attending the conference. Bands playing at the festival typically release a free MP3 in advance of the show for promotional purposes; every year for the past five years, these MP3s have been collected and released as an unofficial torrent. This is a great opportunity to listen to a lot of music, from bands signed and unsigned. Of course, there’s no guarantee that an unsigned band will agree to let you use their music in your film, but the chances are certainly better in the situation where you can ask them directly, rather than deal with a label.
It’s my understanding that, because all of these songs have been publicly released gratis, this torrent is legal. I may be wrong, but either way no one’s going to get mad at your for downloading this compilation of over 1,000 free and current MP3s. If you need a bittorrent client, for the PC try uTorrent and for the Mac try Transmission.
Start that iTunes playlist in preparation for your next project, or just enjoy the tunes!
Link: SXSW Torrents