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STEPHANY DALEY
In a memorable opening sequence, 16-year-old Stephanie Daley (Joan of Arcadia’s Amber Tamblyn, who graced our winter cover) gives birth while on a school skiing trip. Hours later, the baby is found dead, seemingly murdered. When Stephanie’s case comes to trial, forensic psychologist Lydie Crane (Tilda Swinton), who is herself pregnant after recently miscarrying, is asked to ascertain whether Stephanie is mentally sound. Writer-director Hilary Brougher’s dark, psychological thriller delves into the circumstances of both women’s lives, gradually revealing Stephanie’s backstory through flashback, and is as preoccupied by the inner workings of the their minds as she is with the thriller aspects of the movie. Well-acted and directed with a confident remove, Stephanie Daley is an intelligent and engrossing film which raises thought-provoking questions about female attitudes and responses to pregnancy and childbirth.

HOT FUZZ
The Brits behind the sleeper hit zombie romantic comedy (or “zom rom com”) Shaun of the Dead return with this dangerously enjoyable take on the buddy cop movie. Star policeman Nicholas Angel (Simon Pegg) is banished from his London beat for being too effective, and sent to a sleepy village in the English countryside, a place where crime seemingly does not exist. His new inspector (Jim Broadbent) tries to stop him from being over vigilant, but Simon’s wide-eyed new partner (Nick Frost) is desperate to become a “proper policeman” and has the chance to when the pair begin to uncover dastardly local goings on. Co-written by Pegg and director Edgar Wright, Hot Fuzz is wonderfully observed, an affectionate and extremely funny love letter to the American thriller, which manages to deliver genre thrills as well as high octane laughs.

GOT MILK?
Imagine two directors racing to make a film about an out, witty, slightly acerbic gay man whose legacy would forever be defined by his connection to a horrific murderous rampage. No, I am not talking about Truman Capote, for whom two films -- Bennett Miller's Capote and Douglas McGrath's Infamous -- retold Capote’s infamous struggle to write In Cold Blood, the non-fiction novel that secured his literary fame while nearly destroying his sanity. This time it's Harvey Milk.

In Variety, Michael Fleming and Pamela McClintock reported in their article "Dueling Directors Milk a Good Story" that both Bryan Singer and Gus Van Sant are set to make a film about Harvey Milk. A San Francisco supervisor, and one of our first out gay politicians, Harvey Milk was murdered along with mayor George Moscone on November 27, 1978 when another supervisor Dan White went on a killing spree (supposedly set off according to White's defense team from his eating Twinkies)...

 
     
 

IFP ROUGH CUT LAB DEADLINE APPROACHING
A couple of years ago I worked on a new program with the Independent Feature Project: the Rough Cut Labs. The idea came, in part, from my realization that much of maintaining a filmmaking career involves making a series of mistakes and then remembering not to make them on the next film you do. But if you're making your first film, what if somebody could tell you beforehand what mistakes you might be likely to make? Or, forget mistakes, what if people who have been through the trenches could let you know what to expect as your film moves from the security of its edit room into the dangers of the real world?...

 
     

HONEYDRIPPER - Rough Cut Clip of New John Sayles Film
A first look at John Sayles' newest film Honeydripper; due out by Emerging Pictures in 2008. Click here

The film stars Danny Glover as the owner of a failing juke joint in 1950s Alabama who hires a young electric guitarist in hopes to keep from closing down.

 

Read the complete stories at Filmmakermagazine's Blog...

   

RED ROAD - By Ray Pride
Andrea Arnold’s beautifully crafted first feature, Red Road, the follow-up to her Oscar-winning short film, Wasp, was shot on digital video and exploits a fresh, bold palette in telling the story of Jackie (Kate Dickie), an alienated Glasgow policewoman whose job is to watch Glasgow’s banks on surveillance monitors. One day, she notices a man behaving unusually and, becoming fixated on him, crosses a line. Stepping out from behind her monitors, she follows him towards the dangerous housing project called Red Road...

Click here for the rest of the article

 

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