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Editor's Note
The Spring issue of Filmmaker hits the stands this week. Inside — and not online — is a long interview by Gus Van Sant of Mike Mills about Mills’ new Beginners. It’s a personal conversation between colleagues that covers everything from working with small crews to making work that’s based on life but is not autobiographical to fathers and sons. I especially like a section in the middle where Mills talks about going to art school and studying with the great conceptual artist Hans Haacke. He discusses how the ethos he learned in that class — that almost anything could be art if there was intent behind it — came to inform his approach to filmmaking. (Years ago, I made Haacke the subject of one my newsletters, using his writings to discuss the relationship of sponsorship and funding to content and its reception.) There’s also a profile of Artists Public Domain, the non-profit production company behind one of Sundance’s biggest hits, Another Earth. And in our line items section we have three pieces on cameras. David Leitner’s mammoth round-up of the latest is online . Print only are Jamie Stuart’s piece on color correct, which uses his recent “Idiot with a Tripod” as an illustration, and Amanda McCormick’s article on what DSLR shooting does to a D.P.’s sense of focus. (As in a sharp image, not attention span.) And, of course, there’s much more. Go here for the table of contents and the linked online articles. I’ll end with a couple of quick links. At Ted Hope’s Truly Free Film blog, Mike Ryan says the collapse of the mid-level indie film bubble has been a good thing. And if you’ve never read it, check out his piece last year, "Straight Talk,” blasting what he sees as the marketing obsessions of today’s indie film world. Also, if you are like me, waiting for some piece of equipment from Japan (in my case, a Panasonic GH2), here’s Vincent LaForet on the camera and magnetic tape crisis caused by the recent earthquake — and why it’s not going to get any better in the near future.

Scott Macaulay

Upcoming At IFP
PROJECT FORUM - EMERGING NARRATIVE OF INDEPENDENT FILM WEEK The Emerging Narrative section of Independent Film Week is a talent pool which identifies up-and-coming U.S. writers and writer/directors by selecting 25 new projects in development. Once selected, IFP provides filmmakers with professional script and pitching consultation prior to participation, and during Independent Film Week, participants take part in one-to-one meetings with top independent producers, development execs, agents, managers, sales agents, and festival programmers. Recent projects that have “emerged” from this section of the Project Forum include: Dee Rees’ Pariah, Paola Mendoza’s Entre Nos, Matthew Porterfield’s Putty Hill, Scott Teems’ That Evening Sun, Courtney Hunt’s Frozen River, and Rodney Evans’ Brother to Brother. Final submission deadline is Friday, May 6. More here.
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In This Newsletter
Editor's Note
Hammer To Nail Review
Cave of Forgotten Dreams
Sympathy for Delicious
IFP: Emerging Narrative
Fest Deadlines
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Hammer To Nail
THE ARBOR By Michael Nordine

“Time heals all wounds,” goes an old adage with which everyone involved in The Arbor would likely take issue. Clio Barnard's cinematic assemblage on English playwright Andrea Dunbar is certainly a document of sorts, but to call it a documentary would be to slight it: The Arbor is equal parts fact, reenactment, and archival footage. Adding to the genre-blending is a series of audio interviews recorded with Dunbar's siblings, children (particularly Lorraine, in many ways the main “character” of the film), and acquaintances which Barnard then had actors lip-synch onscreen. The result is at first off-putting, eventually immersive, and unlike any other film that comes to mind. Barnard's created artifact constantly blurs the line between its component parts and, in so doing, refuses to be pigeonholed as it relates the unresolved questions of its subjects. Cathartic revelations are in short supply here, but saying the film concludes unhappily seems premature because aspects of Dunbar's story—namely, how it continues through Lorraine—are yet to be told. read more
New In Theaters
CAVE OF FORGOTTEN DREAMS For his new documentary, Werner Herzog (Encounters at the End of the World, Grizzly Man) was granted exclusive access to Southern France’s Chauvet Caves, the recently discovered site of the world’s oldest-known cave paintings. The result is an exploration into man’s thirst for creative expression, propelled forward by breathtaking visuals and Herzog’s always-intact sense of wonder. Cave of Forgotten Dreams is Herzog’s first (and if he is to be believed, only) film to be shot entirely in 3-D, a format that expands on the already-vast visual depth of the Chauvet Caves.
SYMPATHY FOR DELICIOUS Actor Mark Ruffalo’s directorial debut follows Dean O’Dwyer (Christopher Thornton,) an underground DJ who is paralyzed in a motorcycle accident and discovers that he has mystical healing powers. Sympathy for Delicious is a unique, genre-bending peek into the world of faith-healing, anchored by strong supporting performances from Orlando Bloom, Juliet Lewis, and Laura Linney. In his recent interview with Filmmaker, Ruffalo discussed the origins of Delicious, explaining that “what we set out to do (was) take this totally fantastical thing and then just play it as real as possible.” Read the rest of Ruffalo’s interview from our Spring 11 issue here.
Recent Blogs
This week on the blog, parts 4 & 5 of David Leitner's reporting of NAB 2011, and Scott Macaulay highlights three indies seeking financing through Kickstarter, Rodney Evan’s The Happy Sad, Mike Plante’s Be Like An Ant, and Sarah Daggar-Nickson’s In the Forest One Night. To read more posts from our blog, click here.
Newest Web Article

After reading that Warner Bros was streaming The Dark Knight and soon thereafter the Harry Potter films though Facebook, I immediately thought it was a genius move. More information is shared on Facebook, and this would be a great way to close the window between discovery and consumption. In addition, on Facebook distributors and filmmakers are provided very meaningful analytics — and then, of course, there’s the monetization aspect. read more

Festival Deadlines
Northside DIY Film Festival
Late Deadline: May 1
Festival Dates: June 16 - 19

Indie Memphis Film Festival
Regular Deadline: May 1
WAB Deadline: June 22
Festival Dates: November 3 - 8

Woodstock Film Festival
Early Deadline: May 6
WAB Deadline: June 21
Festival Dates: September 21 - 25

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