Making the Movie

Filmmaking tips, resources, reviews, news and links.

Category: Links (page 1 of 2)

Wednesday Links: Crowdfunding, Now with Equity! Edition

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Hollywood Reporter: Want a Piece of the Movie Profits? New SEC Rules Could “Revolutionize” Crowdfunding

Marginal Revolution: Assurance Contracts for Indie Films

Song Exploder: Composer Brian Tyler breaks down the title track for Avengers: Age of Ultron

Geek Tyrant: If We Want Original Films, We Have to Support Them

Reddit thread: What is your favorite “cut to credits” moment in any movie?

Kottke: Movie intro megamix

The Film Stage: The making of Interstellar‘s tesseract (hint: it was mostly practical)

“Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot—the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.”
–Billy Wilder in The Paris Review

Your Wednesday Links: Most Over-rated Films

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Reddit: What is the most over-rated film?

Cali Sunday: Starlee Kine visits a unique film director’s lab

The Film Stage: Toronto International Film Festival review of Zhang Yimou-directed Coming Home

PetaPixel: This is what you get when you strap fireworks to a drone for a long-exposure photo

Wired: The Radicalization of Jar Jar Binks


Cassavetes later said that [novelist Edward] McSorley taught him the three most important things he knew: 1) that character was more important than plot, and that the most important thing of all was to present characters truthfully; 2) that the artist should not explain or define too much, or “do too much thinking for the audience,” but that the story should “evolve, so that people could understand it only gradually as it went along;” 3) that “style is truth” and all that really mattered was that every scene should be as true to life, truthful about the characters and their real feelings and behavior, as possible.

–A Bitter Sweet Life: John Cassevetes on Writing

HD Cameras Comparison

Your Wednesday Links: TV is Dead. Long Live TV.

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

NYTimes: Netflix and Hulu no longer find themselves upstarts in online streaming

Vanity Fair: The Vanity Credit Turns 100: Why directors turn to “A Film by” and why it’s caused fights for decades

Chris Jones: Top 13 Things To Do When Being Interviewed for Radio About Your Film

Gizmodo: How the “Harvard Sentences” secretly shaped audio tech

The Film Stage: The fantastic Albert Maysles documentary about Wes Anderson making Tenenbaums

Fake it till you make it. Bulls**t until you rule s**t.

Your Tuesday Links: Post-Oscars Edition

The critics at SlashFilm podcast had a nice wrap up. It includes a link to an article by Sound of Music on why it runs Hollywood.

Other post-mortems… Deadline’s Pete Hammond. Variety’s Four Big Lessons. Hollywood Reporter’s David Rooney. Steve Pond at The Wrap. And last but never least, Price Peterson’s gif extravaganza.

James Gunn on Bradley Cooper’s snub

Variety: The story behind on Imitation Game writer Graham Moore’s moving acceptance speech

Quora: Advice on how to market a low-budget film

Filmmaker mag: A profile of Kubrick d.p. John Alcott

The New Yorker: Rethinking Hollywood’s seasonal blockbuster strategy and Anthony Lane reviews 50 Shades of Grey

Cinapse profiles native indie Winter in the Blood

Target ends their UltraViolet movie service. Which UltraViolet service is next?

Your Wednesday Links: LEGO My Oscar Edition

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Fast to Create: Devo frontman and Lego Movie composer Mark Mothersbaugh on being a great collaborator

Film School Rejects: Could the 2014 Academy Awards Ceremony Be the Most Controversial Ever? – The author has a broad definition of controversy, but still a nice preview of the horse race.

Mean Melin on the Wilt Chamberlain movie Jayhawkers – Made by lots of the folks I worked with on Bunker Hill. Here’s a link to the premiere info from @StephenDeaver.

Movie Morlocks: Divorce American Style – Nice essay on the peculiar subgenre of screwball re-marriage comedies

Hollywood Reporter: ‘Dallas Buyers Club,’ ‘Wolf of Wall Street’ Writers Reveal Their Writing Process, Biggest Challenges

EOSHD: Which 4K camera for the masses? GH4 vs Blackmagic Production Camera

Tessman fisks the Final Draft Scriptnotes interview

Typeset in the Future: Stanley Kubrick’s 2001 font choices – Everything you wanted to know and probably more about the fonts used in the film. Kubrick was well-known for being a font obsessive and it shows in his films and his film fans.

Stay, little Valentine – Matt Zoller Seitz on Phillip Seymour Hoffman

“Sometimes I’m working on a film and someone will ask me if I’m having fun. And I’m tempted to tell them the truth: No, absolutely not. Having no fun here at all. You know what’s going to be fun? When it’s done, and I’ve done a fuckin’ good job, and I know people are getting something out of that. I’ll have a lot of fun then. A ton of it.” – Phillip Seymour Hoffman

List of Film Collaboration Websites – added hitREC0RD
Sound Equipment for Indies – added the Zoom H4n and H6 recorders

Your Wednesday Links: Twitter Tips for Indies

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Craft Truck: 10 Tips for Indie Filmmakers on Twitter

TheUncool: Almost Famous Revisited

The Wrap: How ‘Saving Mr. Banks’ Overcame Disney’s Resistance to a Movie About Disney

MovieMorlocks: 10 Films You Will Likely Never See from 2013

Hurlbut Visuals: Accessorizing Your 1DC for Cinematic Capture

Hollywood Reporter: Oscars: ’12 Years,’ ‘Gravity’ and the Perils of Being an Early Frontrunner

Bleeding Cool: Poster Quotes From People Who Aren’t Even Pretending To Have Seen The Film

Editor Thelma Schoonmaker at a Wolf of Wall Street talkback: “Improv is hard because you end up with bad cuts. But we will always go with bad cuts rather than lose a great performance.”

List of Streaming Movie Outlets – Added Warner Archive Instant

Wednesday Links: Eat Your Heart Out, David Fincher

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter. Rare Home Movies Show Charlie Chaplin Directing a Scene That Took a Staggering 342 Takes to Get Right – “Eat your heart out, David Fincher.” Why Do Movie Studios Keep Churning Out Dumb Character Posters?

Filmmaker IQ: Create Light Smears and Leaks with a Sandwich bag

Richard Brody for The New Yorker: The problem with sex scenes that are too good

Digital Films: A guide to the stages of film editing

SSN Insight: ‘The Best Man Holiday’ & the ROI of African-American Comedies

IndieWire: Who Really Created The ‘Inception’ BRAAAM? Composer Mike Zarin Sets The Record Straight

Message to Studios & Retailers: Content Exclusives Have Gotten Out of Hand – Home video guru Bill Hunt is right about this. In general, many of these marketing gambits are short-sighted. The studios would have better building a long-term reputation for fan service.

EOSHD: Blackmagic Pocket Cinema Camera gets raw!

Slate tics off the homages in Wes Anderson’s new short film / Prada ad – And here’s the link to the corrected version of the short. Speaking of Wes Anderson…

Alex Buono | HOW WE DID IT: SNL – “The Midnight Coterie of Sinister Intruders” – See also… Making the Gravity Trailer Parody Alfonso Cuarón’s “IKEA”

Your Wednesday Links: Everything You Wanted to Know About Gravity

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

The Alfonso Cuarón-directed and co-written riff on Marooned (1969) continues to be the topic du semaine. Whether it is the visual effects, the sound, the music, the science (or stretching thereof), there is a post or featurette for your needs.

Also, a conversation as to how the ending of the film should be interpreted has already begun. Josh Dickey at The Wrap has a spoiler-filled speculation.

Not quite viral marketing for Carrie – A telekinetic coffee shop prank. I can’t help thinking this would have been better without the film clip and title at the end. Let it actually be viral.

Scouting NY: The 10 Most Dangerous Places in New York City – In time for Halloween, an annotated tour of New York via spooky movies

No Film School: Roundup of early footage from the Digital Bolex D16

Vulture: Profile of Spike Jonez and the Making of Her – Reveals that Samantha Morton originally played the Scarlett Johansson voice role live on set.

Vashi Visuals nominates some pages from Spies Like Us as the best two pages of screenwriting ever.

“It’s kind of fun to do the impossible.” — Walt Disney

A List of Film Collaboration Websites – Added several new players in the web distribution field.

Your Wednesday Links: Magic Feather Syndrome

Most of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Luke Epplin on ‘Magic Feather Syndrome’ – The Atlantic writer takes on the cult of self-esteem in recent animated films. This jibes with Pajiba’s review of Planes.

HeyUGuys: Neill Blomkamp Interview – The Elysium writer/director always starts his projects with images in his head.

BFI: Five essential films of Satyajit Ray

FilmmakerIQ: Billy Wilder’s Ten Rules of Filmmaking – An oldie but a goodie. For more screenwriting advice, check out this interview with Robert Towne.

Schedules for D23 from Aug 3 to Aug 12 showing Disney removed mention of new Star Wars news.Germain Lussier of SlashFilm has a well-rounded look at the controversy surrounding Disney’s failure to announce any Star Wars news at the D23 Disney fan convention. As you can see, to the right, they didn’t even fix the comma when they removed “LucasFilm”.

SlashFilm: Max Landis Explains His ‘Chronicle’ Sequel’s Demise – Evidence that, more difficult than getting an original project produced in Hollywood, is convincing the studios to make a creatively daring sequel

IndieWire: Film History Nerds Rejoice! Old Film Journals and Mags Now Searchable for Everyone

Filmmaker Magazine: The tyranny of high definition memory – An interesting essay exploring the creation of a new vocabulary in editing.

Onion: Corpses of ‘Lone Ranger’ Producers Hung From Hollywood Blvd. Street Lights As Warning To Others

Supporting actors aren’t the only ones who support actors. D.P.’s light for emotion. Composers score it. And the editor creates the performance out of the actor’s raw material.

Tax Credits for Filmmakers – Good new link at the bottom.

Your Wednesday Links: Fire The Story Artist And Fire Up Amazon Storyteller?

Amazon Storyteller screenshotMost of these links come from the @makingthemovie Twitter stream. If you’d like to see them as they come, follow us on Twitter.

Deadline: Amazon Studios Launches Amazon Storyteller; Free Program Transforms Scripts Into Storyboards – I think this will be a really cool tool for indies who A) can’t draw, B) don’t have access to people who can draw, and C) can’t afford to hire someone, anyone who can draw. This will not replace true story artists, but it might knock out some of the market for clip-art storyboarding programs. Also, Filmmaker mag explores Storyteller and some alternatives.

IndieWire: At Long Last: The Definitive Version of “At Long Last Love” – The unbelievable story of how an editor Peter Bogdanovich never met created a secret cut of his 1975 musical, and how Bogdanovich found out, and loved it. You can also hear Bogdanovich tell it himself on this week’s episode of The Business. You’ll also hear Bogdanovich’s three lessons from his career: 1) Don’t sue the studio. 2) Don’t distribute your movie yourself. 3) Don’t start talking about how much you love somebody.

AICN: “So Brad Pitt has a really manly handshake & WORLD WAR Z is a helluva movie!!!” – Early rave review for the film with a troubled production. Truly, no one geeks out like Harry Knowles geeks out.

LATimes: Finding the connection between Google searches, movie box office – and you can download Google’s study directly here

Marginal Revolution dissects the decline of interest in female film stars

Laughing between takes – A gallery of behind-the-scenes convivial moments

Two recent projects profiled here have successfully funded on Kickstarter: Wish It, Inc. and Know How — which is still raising funds through the 20th.

Review of Much Ado About Nothing directed by Joss Whedon – added link to great interview with d.p. Jay Hunter.

I have a theory most people see their lifetime favorite movie between the ages of 9-17. After you become an adult, you’ll never fall as hard for a film. Am I wrong?

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