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Groundbreaking Dp Maryse Alberti on Shooting 'Freeheld,' 'Creed' and 'The Visit'

  • Indiewire
Groundbreaking Dp Maryse Alberti on Shooting 'Freeheld,' 'Creed' and 'The Visit'
Along with Sandi Sissel, Ellen Kuras, Lisa Rinzler and Nancy Schreiber, Maryse Alberti was a groundbreaking female cinematographer at a time when the field was overwhelmingly male (more so than today). Even as more women have steadily entered the field, Alberti still stands out for her versatility and inventiveness. Since starting out in the late 1980s working on a short film with Christine Vachon, Alberti has worked steadily with some of the boldest directors of our time. She's shot a wide range of films, alternating between nonfiction and fiction, with directors including Todd Haynes ("Velvet Goldmine," "Poison"), Darren Aronofsky ("The Wrestler"), Terry Zwigoff ("Crumb"), Michael Apted ("Moving the Mountain," "Incident at Oglala") and Liz Garbus ("Love, Marilyn") and Amy Berg ("West of Memphis"), among others. She received Sundance Film Festival Best Cinematography honors for documentaries...
See full article at Indiewire »

In the Works: Harry Hamlin and Irina Bjorklund Set to Star in 'Erotic Fire of the Unattainable'

Amy Hobby and Anne Hubbell’s female-centric banner Tangerine Entertainment works hard to put women’s pictures front and center. They’re currently exec producing “The Erotic Fire of the Unattainable,” with Harry Hamlin (“Mad Men”) and Finnish superstar Irina Bjorklund (“The American”) set to star. Brazilian-born still photographer and short filmmaker Emilia Ferreira makes her feature directing debut with veteran cinematographer Lisa Rinzler (“Pollock”) shooting the feature in New York. Gay Walley adapted the screenplay from her book of aphorisms of the same title. Rounding out the cast are Edoardo Ballerini and Margot Bingham (both from “Boardwalk Empire”) and Kevin Kilner (“House of Cards”).Here’s the official synopsis:The Erotic Fire Of The Unattainable is an unflinching, slyly humorous journey through a woman's mind - a complicated, sensuous world of lovers and ex-husbands, travel and solitude, money and inner rebellion.
See full article at Thompson on Hollywood »

Mitchell Block Direct: Vol. I Issue 4: Alex Gibney, Paperman, and The Academy Awards Animation Shorts Nominations

Vol. I Issue 4

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Mea Maxima Culpa: Silence in the House of God

Directed by Alex Gibney

In Mea Maxima Culpa: Silence in the House of God, Oscar®-winning filmmaker Alex Gibney examines the abuse of power in the Catholic Church through the story of four courageous deaf men who, in the first known case of public protest, set out to expose the priest who abused them. The film follows a cover-up that winds its way from the row houses of Milwaukee, Wisconsin, through the bare ruined choirs of Ireland's churches, all the way to the highest office of the Vatican.

Like Woodward and Bernstein covering the story of Watergate, Gibney uses the keyhole of the first known protest against clerical sexual abuse in the Us to show that the Pope knew (or should have known) that there is wide spread child abuse within the ranks of Catholic priests, not just in the U.S. but worldwide. Not exactly a pretty picture. This powerful, beautifully crafted film builds a case that screams out for reform of an institution that, like our military, is run by men with little or no outside supervision. One feels that like Nixon after the proven Watergate charges, the Pope should resign along with others who have allowed this outrageous behavior and its cover up to be so institutionalized.

Gibney’s films have a logical clarity that reinforces their intelligence. Smart, clear and wrenchingly powerful they explore institutions and the people who are part of them. From governors to prison guards he shows little patience for lies and incompetence. The chain he establishes in Maxima Culpa links the victims to the priests to their supervisors and on to Rome to the office formally run by the man who is now the Pope. What can you say? They knew, they had to know, the links are compelling. Why would this institution shelter these men (and women) who were abusing children and in some cases adults? Who would tolerate this behavior? Why would the Church tolerate this behavior? Yet the cover up continues.

In a year of films dealing with institutions, such as government officials slowly trying to find a cure for HIV/AIDS, or the military dealing with women being abused, or the Israel army ignoring the rights of the provocative Palestinians or even government failures to act on global warming, this is the best and it should be one of the nominees.

The Filmmaker

Alex Gibney is the founder of Jigsaw Productions. An Oscar, Emmy, and Grammy Award-winning producer, he is well known for producing one of the highest grossing documentaries of all time, Enron: The Smartest Guys in the Room.

His work as a writer and director includes the recent hit Client 9: The Rise and Fall of Eliot Spitzer, as well as the 2006 Oscar-nominated Enron: The Smartest Guys in the Room and the 2008 Oscar-winning Taxi to the Dark Side. Alex attended the film program at UCLA.

Credits:

Director/Producer/Writer: Alex Gibney

Producers:Trevor Birney, Alexandra Johnes, Ruth O’Reilly, Kristen Vaurio, Jedd Wider, Todd Widler

Executive Producers: Jessica Kingdon, Sheila Nevins, Lori Singer

Writer: Mark Monroe

Cinematography: Lisa Rinzler

Original Music Composer: Ivor Guest

Editor: Sloane Klevin

Production Companies: Jigsaw Productions, Wilder Film Projects, Union Editorial

Distribution: Content Media, HBO Documentary Films, HBO

Paperman a short animated film by John Kahrs

Paperman is an original seven-minute-long short animated film produced by Disney Animation.

It tells the story of a lonely young man in mid-century New York City, whose destiny takes an unexpected turn after a chance meeting with a beautiful woman on his morning commute. Convinced the girl of his dreams is gone forever, he gets a second chance when he spots her in a skyscraper window across the avenue from his office. With only his heart, imagination and a stack of papers to get her attention, his efforts are no match for what the fates have in store for him.

Director John Kahrs was the animation supervisor on Tangled, an animator on Bolt and Ratatouille, and worked on Pixar’s The Incredibles, Mike’s New Car, Monsters, Inc., Toy Story 2 and A Bug’s Life. Kahrs now gets his break as a director at Disney. 14 years of work in the animation department at Pixar, that’s paying dues! Now, I understand why this “Disney” animation film looks and feels like a “Pixar” film. It’s brilliant, polished, and elegant and, like the Simpson short, silent. Expressive muted black and white images with a slight color tint in this perfect short film dramatizes love at first sight. Tasteful, romantic and above all beautifully executed, I look forward to Kahrs’ feature film debut. A little Pixar goes a long way and this work is expressive of adult feelings that any child could enjoy. No need to dumb the story down, it works for audiences of all ages. A perfect 10.

Original music by Christophe Beck (who has 105 scoring credits) this work is produced by Kristina Reed (from Disney) and Executive Produced by Pixar’s John Lasseter. Written by Clio Chiang and Kendrelle Hoyer, it shows that “less” can be plenty. Short films don’t get better than this!

Credits:

Directed by: John Kahrs

Produced by: Kristina Reed

Executive Producer: John Lasseter

Art Direction: Jeff Tuley

Written by: Chio Chiang and Kendelle Hoyer

Music by: Christophe Beck

Film Editing: Lisa Linder

Produced by: Walt Disney Animation

Distributed by: Walt Disney Studios Motion Pictures

Running time: 7:00

Short Notes and Update:

The Invisible War is on the New York Times' and Christian Science Monitor's and Newsweek's 10 Best Films of 2012. The Gate Keepers is on the Wall Street Journal’s 10 Best Films of 2012.

Academy announces 10 animated films shortlisted for the Animation Short Film Nomination

The Short Films and Feature Animation Branch Reviewing Committee viewed all 57 eligible entries for the preliminary round of voting at screenings held in New York and Los Angeles. I’ve seen all of the films and this is one of the strongest group shortlisted in years, from the elegant Pixar/Disney film Paperman to the wildly funny Simpsons’ Daycare. These films are a treat for the eyes and mind. Stunning, moving, original, powerful and frankly amazing they will both amuse and entertain and each of the 10 films is special. The styles range from traditional animation to computer designed. A number of students made it with entries which are testimony to their vigorous programs and their talent. This is a year where handicapping is impossible.

At screenings of the short listed films, Short Films and Feature Animation Branch members have selected three to five nominees from among these 10 titles for its nominations.

The 85th Academy Awards nominations will be announced live on Thursday, January 10, 2013, at 5:30 a.m. Pst in the Academy's Samuel Goldwyn Theater.

Adam and Dog, Minkyu Lee, director (Lodge Films)

Web Link: https://vimeo.com/34849443

Length: 16 min.

Language: none

Country: USA

Combustible,Katsuhiro Otomo, director (Sunrise Inc.)

Web Link: None available

Length: 13 min.

Language: none

Country: Japan

Dripped, Léo Verrier, director (ChezEddy)

Web Link: http://www.youtube.com/watch?v=Wk9keXSBbhY

Length: 8 min.

Language: none

Country: France

The Eagleman Stag, Mikey Please, director, and Benedict Please, music scores and sound design (Royal College of Art)

Web Link: https://vimeo.com/mikeyplease/eaglemanstag

Length: 9 min.

Language: none

Country: England

The Fall of the House of Usher, Raul Garcia, director, and Stephan Roelants, producer (Melusine Productions, R&R Communications Inc., Les Armateurs, The Big Farm)

Web Link: http://youtu.be/5So_E6yPW40

Length: 17 min.

Language: none

Country: USA

Fresh Guacamole, Pes, director (Pes)

Web Link: https://www.youtube.com/watch?v=FQMO6vjmkyI

Length: 2 min.

Language: none

Country: USA

Head over Heels, Timothy Reckart, director, and Fodhla Cronin O’Reilly, producer (National Film and Television School)

Web Link: https://vimeo.com/timr/headoverheels

Length: 10 min.

Language: none

Country: England

Maggie Simpson in The Longest Daycare, David Silverman, director (Gracie Films)

Web Link: http://youtu.be/gV-NRwLV2qU

Length: 5 min.

Language: none

Country: USA

Paperman, John Kahrs, director (Disney Animation Studios)

Web Link: https://www.youtube.com/watch?v=jsoiEpuvTeQ

*note this about the technology in this film, but not a true trailer

Length: 7 min.

Language: none

Country: USA

Tram, Michaela Pavlátová, director, and Ron Dyens, producer (Sacrebleu Productions)

Web Link: http://youtu.be/a_QT-JaDswY

Length: 7 min.

Language: none

Country: French

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Errata

Volume 1 Issue 3 In Chasing Ice the film was edited by Davis Coombe (and not Mark Monroe); Distributor (Us) Submarine Deluxe (not National Geographic).

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Block Doc Workshops in Los Angeles

The International Documentary Association will be hosting Documentary Funding and Documentary Tune Up Workshops with Block on February 9/10. http://www.eventbrite.com/org/169037034

Mitchell Block specializes in conceiving, producing, marketing & distributing independent features & consulting. He is an expert in placing both completed works into distribution & working with producers to make projects fundable. He conducts regular workshops in film producing in Los Angeles and most recently in Maine, Russia and in Myanmar (Burma).

Poster Girl, produced by Block was nominated for a Documentary Academy Award and selected by the Ida as the Best Doc Short 2011. It was also nominated for two Emmy Awards and aired on HBO. He is an executive producer of the Emmy Award-winning PBS series Carrier, a 10-hour series that he conceived & co-created. Block is a graduate of Tisch School and Columbia University’s Graduate School of Business. He is a member of Academy of Motion Picture Arts & Sciences, the Television Academy, a founding member of BAFTA-la and has been teaching at USC School of Cinematic Arts since 1979. Currently Block teaches a required class in the USC Peter Stark Producing Program.

______________________________________________________________________

©2012Mwb All Rights Reserved All Rights Reserved. All information and designs on the Sites are copyrighted material owned by Block. Reproduction, dissemination, or transmission of any part of the material here without the express written consent of the owner is strictly prohibited.All other product names and marks on Block Direct, whether trademarks, service marks, or other type, and whether registered or unregistered, is the property of Block.
See full article at Sydney's Buzz »

Lightning in a Bottle

Lightning in a Bottle
Screened

Berlin International Film Festival


BERLIN -- Yet another film in a series about blues music, which Martin Scorsese exec produces, "Lightning in a Bottle" simply lets the sinfully gorgeous music and emotions sweep over an audience. Director Antoine Fuqua, who directed music videos before launching his feature career, brought his cameras to New York's Radio City Music Hall in February 2003 to capture a benefit concert by more than 50 artists spanning several generations from Indie.Arie and Bonnie Raitt to Natalie Cole and B.B. King. The result is pure pleasure for fans of the blues. One can only hope this series will create more fans of an American musical form whose adherents are small in number but passionate.

Interspersed with the concert footage are occasional interviews backstage with artists and archival footage of legendary performers no longer living. Mostly, though, Fuqua goes to the source --vibrant, stirring, soothing sounds that put a chill down one's back and a serious tap in one's feet.

Blues is a wonderful contradiction, a joyous music usually about incredible sorrow. Reflecting its roots in spirituals and gospel music, blues bypasses the mind for the heart. The artists Fuqua records, who are among the very best, have special abilities with voice and instruments that go beyond mere talent. They have the ability to put their lives, the sum of all their joys and sorrows, into this music.

The concert itself is designed to follow a geographical and historical line, beginning with the music's African roots, then up the Mississippi Delta to Chicago and over to Memphis, where other influences come into play.

Yet Fuqua chooses not to press these points. This is no music lecture, just a straightforward concert film, smoothly videotaped by cameramen under the direction of cinematographer Lisa Rinzler. The energy emanating from the stage is tremendous. Marcy Gray doing "Hound Dog" the way it was meant to be sung, Cole teaming up with Ruth Brown and Mavis Staples for the jocular "Men Are Like Streetcars", Buddy Guy performing Jimi Hendrix's "Red House", Indie.Arie performing Billie Holiday's signature song "Strange Fruit" -- these are all special moments.

But this is an art form that is losing its audience. The crowd shots at Radio City fail to turn up many black faces. Hip-hop and rap now consume young black -- and most white -- music listeners. This leaves blues to an older generation for the most part. But Fuqua has caught lightning in a bottle, so there may be hope yet that young people will get inspired by this movie from one of Hollywood's hottest directors.

Lightning in a Bottle

Vulcan Prods. presents in association with Cappa Prods. and Jigsaw Prods.

Credits:

Director: Antoine Fuqua

Producers: Alex Gibney, Margaret Bodde, Jack Gulick

Executive producers: Paul G. Allen, Jody Patton, Martin Scorsese

Director of photography: Lisa Rinzler

Musical director: Steve Jordan

Co-producers: Richard Hutton

Editors: Bob Eisenhardt, Keith Salmon

Running time -- 109 minutes

No MPAA rating

Lightning in a Bottle

Lightning in a Bottle
Screened

Berlin International Film Festival


BERLIN -- Yet another film in a series about blues music, which Martin Scorsese exec produces, "Lightning in a Bottle" simply lets the sinfully gorgeous music and emotions sweep over an audience. Director Antoine Fuqua, who directed music videos before launching his feature career, brought his cameras to New York's Radio City Music Hall in February 2003 to capture a benefit concert by more than 50 artists spanning several generations from Indie.Arie and Bonnie Raitt to Natalie Cole and B.B. King. The result is pure pleasure for fans of the blues. One can only hope this series will create more fans of an American musical form whose adherents are small in number but passionate.

Interspersed with the concert footage are occasional interviews backstage with artists and archival footage of legendary performers no longer living. Mostly, though, Fuqua goes to the source --vibrant, stirring, soothing sounds that put a chill down one's back and a serious tap in one's feet.

Blues is a wonderful contradiction, a joyous music usually about incredible sorrow. Reflecting its roots in spirituals and gospel music, blues bypasses the mind for the heart. The artists Fuqua records, who are among the very best, have special abilities with voice and instruments that go beyond mere talent. They have the ability to put their lives, the sum of all their joys and sorrows, into this music.

The concert itself is designed to follow a geographical and historical line, beginning with the music's African roots, then up the Mississippi Delta to Chicago and over to Memphis, where other influences come into play.

Yet Fuqua chooses not to press these points. This is no music lecture, just a straightforward concert film, smoothly videotaped by cameramen under the direction of cinematographer Lisa Rinzler. The energy emanating from the stage is tremendous. Marcy Gray doing "Hound Dog" the way it was meant to be sung, Cole teaming up with Ruth Brown and Mavis Staples for the jocular "Men Are Like Streetcars", Buddy Guy performing Jimi Hendrix's "Red House", Indie.Arie performing Billie Holiday's signature song "Strange Fruit" -- these are all special moments.

But this is an art form that is losing its audience. The crowd shots at Radio City fail to turn up many black faces. Hip-hop and rap now consume young black -- and most white -- music listeners. This leaves blues to an older generation for the most part. But Fuqua has caught lightning in a bottle, so there may be hope yet that young people will get inspired by this movie from one of Hollywood's hottest directors.

Lightning in a Bottle

Vulcan Prods. presents in association with Cappa Prods. and Jigsaw Prods.

Credits:

Director: Antoine Fuqua

Producers: Alex Gibney, Margaret Bodde, Jack Gulick

Executive producers: Paul G. Allen, Jody Patton, Martin Scorsese

Director of photography: Lisa Rinzler

Musical director: Steve Jordan

Co-producers: Richard Hutton

Editors: Bob Eisenhardt, Keith Salmon

Running time -- 109 minutes

No MPAA rating

Film review: 'Three Seasons'

Film review: 'Three Seasons'
PARK CITY, Utah -- "Three Seasons" is a luminous, delicate and powerful saga of modern-day Saigon. The winner of both the Jury Prize and the Audience Award at the Sundance Film Festival, the film moved audiences throughout the fest and should be a hit on both the festival and select-site circuit for October Films.

A narrative pastiche weaving four separate stories in present-day Vietnam, "Three Seasons" is an eloquent depiction of life in that tumultuous country. Filmmaker Tony Bui, who directed and co-wrote, has painted a provocative picture of the hard life that many Saigon residents face.

Reminiscent of Italian neo-realism, Bui focuses on those who are barely scraping by, including a cyclo driver, a prostitute, a young man who hustles trinkets on the streets and a girl who has been hired to be a personal assistant to a reclusive spiritual master.

Winding between these unconnected, but ultimately inclusive stories, Bui's storytelling is packed with hard city images. Indeed, "Three Seasons" is most eloquent and powerful in its visuals: the kaleidoscope of the scurrying chaos of big-city Saigon is both frightening and dignified.

Unfortunately, the dialogue and writing is often of an expositional nature and occasionally "Three Seasons" is over-arching in making its thematic points. During these junctures, the storytelling takes on a somewhat glossy, "National Geographic" patina.

Overall, "Three Seasons" is an exceptional film, capturing the roiling nature of a country that's torn by its past and gyrating between the old ways and the new. The acting is special as the well-chosen cast members embody their character's everyday essences.

Particularly noteworthy is Ngoc Hiep, whose radiant and fragile nature literally blossoms as she comes to gain strength and uncommon insights in her routine work with a religious master. Don Duong is also noteworthy for his engaging performance as a love-smitten cyclo driver. Harvey Keitel, who also executive produces, is solid as an American G.I. searching for the daughter he left behind during his Vietnam war days.

It's in its technical aspects that "Three Seasons" is most bountiful. Cinematographer Lisa Rinzler deservedly won the festival's Cinematography Award for her masterful lensing, eloquently and touching and conveying the heart and soul of the fractured city. In addition, composer Keith Reamer's full-bodied music, with its dissonant as well as mellifluous tones, also captures the vibrant qualities of Vietnamese life.

THREE SEASONS

A Film by Tony Bui

Producers: Jason Kliot, Joana Vicente, Tony Bui

Screenwriter-director: Tony Bui

Executive producer: Harvey Keitel

Co-executive producer: Charles Rosen

Co-producer: Timothy Linh Bui

Story: Tony Bui, Timothy Linh Bui

Director of photography: Lisa Rinzler

Production designer: Wing Lee

Costume designer: Ghia Ci Fam

Editor: Keith Reamer

Music: Richard Horowitz

Vietnamese songs by: Vy Nhat Tao

Line producer: Trish Hofmann

Casting director: Quan Lelan

Sound: Curtis Choy, Brian Miksis

Color/Stereo

Hai: Don Duong

Kien An Nguyen: Ngoc Hiep

Teacher Dao: Tran Manh Cuong

James Hager: Harvey Keitel

Lan: Zoe Bui

Woody: Nguyen Huu Duco

Truck Driver: Minh Ngoc

Huy: Hoang Phat Trieu

Running time -- 113 minutes

MPAA Rating: PG-13

See also

Credited With | External Sites