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Fall issue, which should be at your neighborhood newsstands soon while select stories are already online. It's a fantastic fall movie season, and we have interviews with the directors of some of the year's best films. The great David Cronenberg is on our cover, and Peter Bowen delves deep into his A Dangerous Method, asking Cronenberg about his approach towards dramatizing the birth of psychoanalysis. I talk to Jeff Nichols about his latest film, Take Shelter, one of my favorite films of the year. Budding screenwriters will learn something from his honest discussion with me about how he built his story and how he's maturing as a screenwriter. I also speak to Steve McQueen about his Shame, who comes up with some of the freshest metaphors for film directing I've come across in some time. There's more, of course, including our Line Item section, which has a focus on producers and money. Alicia Van Couvering explores how "back end," or net profits, works, and points to some disturbing trends in the no-budget world. We also reprint Ted Hope's great Hope for Film piece on how much producers make and then expand on it, talking to a number of indies about how they're making ends meet in this tough economy.Just out this week is our
Articles from the issue to read online include Holly Willis's piece on what film schools need to do to stay relevant; Zachary Wigon's talk with Lars von Trier (maybe his last interview ever!) about the completely excellent Melancholia; Jason Guerrasio's interview with Sean Durkin and Elizabeth Olsen about the eerie Martha Marcy May Marlene; Anthony Kaufman's piece on declining below-the-line salaries; and Rev. Megan Hollaway's beautiful piece comparing independent filmmaking to religion as she speaks to Todd Rohal about his The Catechism Cataclysm. And, in his Culture Hacker column, Lance Weiler asks whether fifth graders should rule your story world.
I'll be back next week with one of my usual ruminations. In the meantime, pick up our issue and read online. And, if you missed last week's Microbudget Conversation, check it out. Zak Forsman gives an absolutely essential tutorial for those planning a Kickstarter campaign.
See you next week.
VOTE NOW FOR THE GOTHAM INDEPENDENT FILM AUDIENCE AWARD The vote to choose the nominees for the 2nd Annual Gotham Independent Film Audience Award is currently underway. Film fans can choose their five favorite films from a list of finalists, all U.S. and Canadian films that have won an audience award at one of the top 50 U.S. or Canadian film festivals from November 2010 through October 2011, here. Then, on November 7, users can vote for their favorite film of the final five nominees for the 2nd Annual Gotham Independent Film Audience Award. Chosen by an independent film community of over 230,000 film fans worldwide, the recipient of this year's award will be revealed at the Gotham Awards ceremony on Monday, November 28 at Wall Street Cipriani in New York City. Vote for your favorite films today, and help spread the word by joining the conversation on Twitter: #gothams. For more go here.
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The Rum Diary
The Microbudget Conversation: Down and Dangerous
IFP: Vote Now for the Gotham Independent Film Audience Award
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FALL ISSUE ONLINE Select stories from our Fall issue are now available. You can now read online our interviews with Melancholia's Lars von Trier (before announcing he would no longer give interviews), Sean Durkin and Elizabeth Olsen chat about Martha Marcy May Marlene, we get biblical about The Catechism Cataclysm with thoughts from the Reverend Megan Hollaway and we look at what film schools need to achieve to be relevant in the future. Plus, the Culture Hacker and Industry Beat columns. The issue hits stands next week, but you can read it now on your desktop by subscribing to our digital issue. Learn more here. LIKE CRAZY A refreshingly honest romance from director Drake Doremus (Douchebag), this Sundance Grand Jury Prize winner is brought to life by the spark of chemistry between its two leads, Anton Yelchin (Star Trek, Fright Night) and Felicity Jones (Chalet Girl). Like Crazy tracks a British student studying abroad in L.A. (Jones) and the American she falls for (Yelchin), tracking the stages of their relationship -- from the giddy intoxication of their first few months together through the emotional fallout caused by some unforeseen complications. True to life and emotionally charged, the film gains from Doremus' insistence of having Yelchin and Jones improvise throughout most of filming. THE RUM DIARY The first film in twenty years from seminal British director Bruce Robinson (Withnail and I, How to Get Ahead in Advertising) is also something of a homecoming for actor Johnny Depp. Returning to the frenzied, hallucinatory world of journalist Hunter S. Thompson for the first time since Fear and Loathing in Las Vegas, Depp this time portrays Paul Kemp, a Thompson stand-in who finds himself entangled in a web of financial corruptions while working in Puerto Rico. Loosely adapted from the Gonzo journalist's first novel, The Rum Diary is a frenzied, surrealist romp, as unhinged and entertaining as you might imagine. This week on the Blog, Alix Lambert concludes her series about taking classes at the Edit Center, Scott Macaulay speculates on whether the New York "Section 181" tax incentive will be extended beyond 2011, and Jason Guerrasio explores the music of Jackson C. Frank, as featured in Martha Marcy May Marlene (pictured left).
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THE MICROBUDGET CONVERSATION: DOWN AND DANGEROUS By John Yost
In sticking with our "Do Your Homework" theme, this week on the conversation we dissect one aspect of the micro-budget equation - crowdfunding. As someone who is about to use Kickstarter for the first time, I felt it was best to leave you in the capable hands of someone who had not only successfully met his goal, but who doubled it. Zak Forsman is no stranger to the world of microbudget filmmaking and I love his advice on crafting a great campaign. At IFP week I heard tons of questions from filmmakers on how to wrestle the task of a good crowdfunding campaign. Very few panelists had a good answer, or the success that Zak has had. Perhaps this is because no two campaigns are alike. It's always best to see what has worked for others, then add your unique take, and hand tailored strategy. This isn't the first time we've tackled this ever-changing tool, but it's the first time we in this column have been able to take one apart and see how it works. read more OCTOBER
Ashland Film Festival
Early Deadline: October 28
WAB Deadline: December 16
Festival Dates: April 12 - 16, 2012
Las Vegas Film Festival
Early Deadline: October 30
WAB Deadline: May 15, 2012
Festival Dates: July 12 - 15, 2012
Pittsburgh Independent Film Festival
Early Deadline: October 30
WAB Deadline: April 1, 2012
Festival Dates: June 1 - 3, 2012