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Abu Dhabi Film Festival (Adff) (Oct 23-Nov 1) is to honour French-Algerian director Rachid Bouchareb and Us producer Edward Pressman with Career Achievement Awards for their outstanding contribution to world cinema.
Both awards will be presented at the festival’s opening event on Oct 23 at Emirates Palace.
The film played in competition at the Berlin Film Festival earlier this year. Adff will also host a public conversation with Bouchareb on Oct 24, where he will discuss his life and career as a director and producer.
Us producer »
- firstname.lastname@example.org (Michael Rosser)
Every week, Shelf Life sees Tom White select and talk about a movie that lives on his DVD shelf, one he thinks we should all see. In recent years, vampires have being de-fanged somewhat, Stephanie Myers' Twilight kickstarting the once fearsome creatures of the night's reinvention as romantic figures, and mainstays in Young Adult fiction. The trend seems to be dying off, thank god, with the likes of Dracula Untold and t.v show The Strain putting some bite back into the vampire legend, but in 1987, Kathryn Bigelow brought us a movie that proved you could perfectly marry the love story Myers was attempting to tell with the more traditional views of the vampire myth. That movie was Near Dark. Around about the year 2000, something got flipped in popular culture, and vampirism became an attractive prospect. No longer were vampires something to be feared, instead they were desirable, becoming something to emulate. »
- email@example.com (Tom White)
Produced on a shoestring budget with prosumer camera gear and bedroom-made digital effects, Monsters was a minor miracle of a film. Its director Gareth Edwards is now in charge of the Godzilla franchise and working on a Star Wars spinoff, and it's easy to see why when you look back at his 2010 breakthrough. Focusing on two lost souls wandering through Central America's infected zone after an alien invasion, it juxtaposed an intimate human story with bigger sci-fi ambition. Terrence Malick meets monsters from outer space.
Unfortunately, all this subtlety goes out the window for sequel Monsters: Dark Continent, which chooses to make war not love. Edwards remains as executive producer, but directing chores are handed over to Misfits helmer Tom Green, who co-writes with Jay Basu. »
Further proving that we are living through the biggest week for superhero-movie news since last week and the week before, Warner Bros. just announced one of the most hilariously aggressive franchise-extension plans in movie history. Between now and 2020, WB plans to release a whopping 13 movies based on DC comic book characters–including two Justice League movies, the long-awaited Wonder Woman film, a movie starring the popular Lego™ Batman character and a movie starring the somewhat less popular Affleck™ Batman character. Now, it's hard to know where this fits into the glorious history of Superhero Franchise announcements. Is this the second »
- Darren Franich
'Emmanuelle' movies producer Alain Siritzky dead at 72 (photo: Sylvia Kristel in 'Emmanuelle' 1974) Emmanuelle franchise producer Alain Siritzky died after what has been described as "a short illness" on Saturday, October 11, 2014, at a Paris hospital. Siritzky, whose credits include dozens of Emmanuelle movies and direct-to-video efforts, several of which starring Sylvia Kristel in the title role, was 72. Ironically, Alain Siritzky didn't produce the original, epoch-making 1974 Emmanuelle. He became involved in that Yves Rousset-Rouard production via his Parafrance Films, which distributed Emmanuelle in France. 'Emmanuelle': 1974 movie sensation A couple of years after the release of Deep Throat and The Devil in Miss Jones (not to mention Boys in the Sand and Eyes of a Stranger), and the year after Marlon Brando and Maria Schneider sparked a furor by having simulated sex in Bernardo Bertolucci's Last Tango in Paris, the 1974 French release Emmanuelle still managed to become a worldwide cause célèbre. »
- Andre Soares
By Anjelica Oswald
Set during the final months of World War II, Fury follows a tank commander (played by Brad Pitt) and his crew as they head into Nazi Germany as part of the Allies’ final push. The film also stars Logan Lerman, Shia Labeouf, John Bernthal and Michael Pena. The Hollywood Reporter’s Todd McCarthy said the film is “a modern version of the sort of movie Hollywood turned out practically every week back in the 1940s and 1950s.” Fury opens Oct. 17.
Could Fury score a best picture nomination at the 87th Academy Awards? Both war biopics and fictional war films — about real wars or battles — have historically done well at the Oscars; however, the current projections show that the race will be a tight one. Here’s a look at some of the fictional war films that scored nominations for best picture:
War-themed best picture winners »
- Anjelica Oswald
The great Tony Zhou of Every Frame a Painting has returned with a new video which breaks down David Fincher‘s techniques, specifically the things the director doesn’t do. How do self-imposed limitations strengthen shots? How can people talking become cinematic? How many insides of refrigerators can Fincher show us? It’s an excellent, brief examination (7 minutes) that’s probably fascinating to watch just before seeing or re-seeing Gone Girl, particularly the segments on using empty space to share information. You can imagine how zooming in on a broken coffee table offers a nice emotional kick with only a few seconds of screen time, or how staging a young detective far away from the distraught husband might tell you how he feels about him. There are two notes I’d add to this video essay. One, Fincher achieves a great deal of his impressive visuals thanks to a longstanding partnership with Dp Jeff Cronenweth (son of »
- Scott Beggs
Perhaps the least interesting thing about Megan Ellison, Gigi Pritzker and Molly Smith is that these game-changing film financiers happen to be the scions of three of America’s wealthiest families — a status that’s more Trivial Pursuit factoid than it is relevant to their dramatic impact on the current indie movie scene. Indeed, there is a long history of private-sector capitalists who gambled on the film business, from Howard Hughes in the 1940s to the more recent likes of industrialist Steven Rales and fashion magnate Sidney Kimmel — flirtations of varying lengths and intensity, but ultimately, in almost every case, a passing fancy.
What sets Ellison, Pritzker and Smith apart is that the movie business is their business, as well as their all-consuming passion. Financiers they may be, but they’re also creative, hands-on producers with dirt under their fingernails, many notches in their belts, and a keen understanding of »
- Scott Foundas
Édgar Ramírez has been an actor on the rise for the past seven years, after he first came into prominence playing the deadly and mysterious Paz in The Bourne Ultimatum. Following roles in Vantage Point and Che (Part 1), the Venezuelan-born actor delivered a breakthrough performance in the mini-series Carlos, which lead to roles in Wrath of the Titans, Zero Dark Thirty, The Counselor and Deliver Us from Evil.
The actor takes on a character close to his heart in the fascinating indie drama The Liberator, where he plays the historic figure Simon Bolivar, who became a legend by literally liberating South American countries such as Peru, Panama, Northern Brazil, Panama, Ecuador, Colombia and the actor's home country of Venezuela. I had the chance to speak with the actor earlier this summer about The Liberator, which hits theaters on October 3. Here's what he had to say below.
I have to say, »
Sky Movies takes a look at gripping war drama Zero Dark Thirty, Kathryn Bigelow's brilliant follow up to The Hurt Locker. The tortuous - and torturous - trail leading to to the location and assassination of Osama Bin Laden is the subject of Oscar-winning director Kathryn Bigelow's nail-biting thriller. After the World Trade Center attacks, greenhorn CIA officer Maya (Jessica Chastain) is given the job of tracking down the al-Qaeda leader and spends the next ten years obsessed with hunting her quarry. »
Hollywood heavyweights taking a strong position on the environment is nothing new. But this season, a vocal few are actually putting their passionate political views into movies. The rejiggered Hollywood Film Festival is packed with social action movies backed by celebrities from Sharon Stone to Emma Thompson. "Zero Dark Thirty" director Kathryn Bigelow's three-minute elephant poaching PSA "Last Days" recently debuted at the New York Film Festival, where Bigelow was on hand to explain the origins of the project, which identifies the sale of ivory as a funding source for terrorist organizations like Boko Haram, the Lord's Resistance Army and al-Shabab. (Nyff report here.) "I felt compelled to enter this space, encourage a dialogue, raise awareness. Killing for ivory by organized syndicates [is] now being carried out on an industrialized scale," Bigelow told the Nyff audience and a panel of environmentalists including reps from WildAid, legal experts »
- Anne Thompson and Ryan Lattanzio
Megan Ellison will stop at nothing until David O. Russell wins that Best Director Oscar. Ok, maybe that sounds a little desperate, but after throwing Russell the cash to make his swinging crime picture "American Hustle," Ellison appears even more invested in the writer-director's future. Word comes from Deadline that the artistic patron has made a two-picture deal with Russell through her company, Annapurna Pictures. Since its 2011 inception, Annapurna has financed passion projects from notable filmmakers in a la carte fashion. Ellison swooped in to save films like Paul Thomas Anderson's "The Master" and Bennett Miller's "Foxcatcher," while nurturing ambitious scripts from the get go, like Kathryn Bigelow's "Zero Dark Thirty," Harmony Korine's "Spring Breakers," Spike Jonze's "Her." A two-picture deal is a first for the company, a promise to back whatever Russell wants to do. What could be the next Annapurna/Russell collaboration? This past January, »
- Matt Patches
Whether you knew it or not, you've been listening to sound mixer David Macmillan's work for years. There's early stuff, like "Indiana Jones and the Temple of Doom," "Birdy" and "SpaceCamp" (yes!). There's recent stuff like "Twilight," "Hancock" and "The 40-Year-Old-Virgin." And there's the Oscar-winning stuff scattered throughout, like "The Right Stuff," "Speed" and "Apollo 13." The guy is a legend in the field, so of course he's a great fit for the Cinema Audio Society's (Cas) Career Achievement Award. Macmillan began his career over half a century ago as an apprentice in Canadian television before eventually connecting with Francis Ford Coppola. The "Godfather" director was in the process of building American Zoetrope in San Francisco and hired Macmillan to run the company's mixing facility. From there, his career took off. He has more than 80 feature films to his credit, the three aforementioned Oscars (he won every time he was nominated), collaborations with Oliver Stone, »
- Kristopher Tapley
Directed by Guillermo Amoedo and executive produced by Eli Roth and Nicolas Lopez (who collaborated on Aftershock, The Green Inferno, and next year's home invasion thriller Knock, Knock with Keanu Reeves), The Stranger is a vampire film that doesn't scream that it's a vampire film. In fact, it's very similar to the best parts of Kathryn Bigelow's Near Dark. Cristobal Tapia Montt stars as the titular brooding stranger Martin, who appears at the house of Monica (Alessandra Guerzoni), a mostly irate nurse, and her son Peter (Nicolas Duran), a nice young kid. Martin inquires as to the whereabouts of his ex-lover Ana, and upon being pointed to the cemetery, harbors a severe death wish after learning that Ana has died. Morose and still as a...
[Read the whole post on twitchfilm.com...]
The Hurt Locker producer gives ten tips for producing award-winning films at the right budget.
Voltage Pictures president Nicolas Chartier, producer of The Hurt Locker and executive producer of Dallas Buyers Club, used his keynote speech at the Zurich Summit to offer ten tips for ‘producing award-winning films at the right budget’.
The tongue-in-cheek speech, which went down a storm, included plenty of sage advice.
Chartier agreed to share the speech with Screen and below is the near-entire transcript…
‘Good morning. So yesterday on the plane I was reading Hope For Film, the biography of Ted Hope who for those who don’t know him, was one of the founders of Good Machine, a great independent company which produced Crouching Tiger, Ice Storm, In the Bedroom, Brothers McMullen and many other independent films.
He wrote, I quote: “To make art, survive independently, and make a living that is tied to modest financial gain, you have to »
- firstname.lastname@example.org (Andreas Wiseman)
Directed by David Ayer, Fury stars Brad Pitt as “Wardaddy,” a Sherman tank commander who must guide his men into the heart of Nazi Germany during the last month of World War II. The film includes Shia LeBeouf, Logan Lerman, Michael Peña, Jon Bernthal, Jason Isaacs and Scott Eastwood.
The first to bear a fully-rotating turret with a 75 mm gun, the Sherman Tanks were named after the American Civil War Union General William T. Sherman. (Sherman made the infamous March to the Sea from Chattanooga to Atlanta).
With almost 50,000 manufactured during World War II, these remarkable tanks provided critical armored support to Allied ground troops. For more on the Sherman Tanks, click Here.
Columbia Pictures will release the World War II film during awards »
- Michelle McCue
“When you buy something made of ivory, where does the money go?” asks an onscreen question at the start of Kathryn Bigelow’s “Last Days,” a remarkable three-minute PSA on the subject of elephant poaching and the illegal ivory trade that premiered on Saturday at the New York Film Festival. The unsettling answer: a veritable roll call of the world’s leading terror organizations.
Directed by Bigelow from a treatment she devised with screenwriter Scott Z. Burns, and produced by Megan Ellison’s Annapurna Pictures, the visually stunning short combines staccato 2D animation with flashes of live action to trace the insidious flow of ivory income backwards from the point of sale — in markets and tourist shops from Manhattan to Shanghai — to the point of slaughter, culminating in the pointed assertion that “sadly, there is no way to make extinction go backwards.” Along the way, other startling facts fill the screen, »
- Scott Foundas
The film-festival circuit this time of year is not unlike presidential-primary season. Venice or Telluride are sort of like the Iowa caucus, an important first step for a film to generate some name recognition and Oscar buzz—but not exactly the setting for a coronation. Toronto is the traditional Oscar-campaign battleground, a sort of New Hampshire primary that often separates the contenders from the pretenders. Last year, Toronto unofficially nominated 12 Years a Slave, Gravity, and Dallas Buyers Club, and those films went on to collect major awards.
But this year, the races still remain wide open after the first new rounds, »
- Jeff Labrecque
White Gold, Sydney's Pollack's Out Of Africa, starring Meryl Streep and Robert Redford, and Michael Apted's Gorillas In The Mist starring Sigourney Weaver have one man in common: Simon Trevor, the director of White Gold. His documentary on the organised poaching of elephant tusks, narrated by former Us Secretary of State Hillary Rodham Clinton, puts an end to fantasies of glamour and harmless luxury based on ignorance and lies.
Producer Arne Glimcher with White Gold director Simon Trevor on the crisis in elephant poaching: "This time around it's much more serious because there's less elephants and more demand." Photo: Anne-Katrin Titze
The New York Film Festival now takes on the challenge of raising awareness with their newly announced panel The Crisis In Elephant Poaching. The discussion will be moderated by Last Days »
- Anne-Katrin Titze
It can only happen in the movies: While a couple of weeks ago, Rocket the Raccoon was the superhero of the moment, he has been replaced by David Fincher, Christopher Nolan and Alejandro Gonzalez Inarritu.
In reinventing itself every fall, Hollywood is still selling brands, but those brands shift dramatically, from comicbook heroes to cinema auteurs.
The process of elevating filmmakers to such status raises intriguing questions: Are we really doing directors (or audiences) a favor? Or are we misrepresenting the filmmaking process and, in doing so, prompting top talent to fashion quirkier, less accessible work?
A number of books and academic studies have appeared lately that argue against the folklore of the “lone genius” in the arts. Most creative breakthroughs, they point out, are the product of teams of artists. “The idea of the solitary creator is a myth that has outlived its usefulness,” writes Joshua Wolf Shenk in his book, »
- Peter Bart
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