Waking Life (2001)
Albinus, to his credit, recognized the unique challenges that might be involved in such an endeavor. “It would entail a delicacy of work calling for novel improvements in the method of animation,
Read MoreRichard Linklater’s ‘Before’ Trilogy Hits Criterion: Everything You Need to Know About the Romantic Saga
Hawke recently sat down with The Independent to promote his new movie “Maudie,” in which he stars opposite Sally Hawkins, and the conversation couldn’t help but find its way to the “Before” trilogy, which the actor says is “connected to [his] soul, for lack of a better word.” Every nine years since “Before Sunrise” in 1995, Hawke has reunited with Linklater
Such was the vision Polish animator Dorota Kobiela had for “Loving Vincent,” a truly awe-inspiring portrait of the great Dutch artist that boasts the distinction of being “the world’s first fully painted feature film.” That means every one of the nearly 65,000 frames in this near-lunatic labor of love was rendered by hand with oil paints, following a style intended to mimic that of the master — which has
Filmmakers have worked within recognizable genres for nearly as long as they’ve told stories. Initially film appropriated genres from literature and theatre, but as the new medium found its footing in Hollywood’s Classical Era of the 40s and 50s, a distinctly cinematic set of generic conventions were codified. Since that time, genres have come in and out favor, but most new films have still defined themselves either in accordance with or opposition to the Classical Hollywood models. Even innovative filmmakers like Jean-Luc Godard and David Lynch have self-consciously manipulated the language of genre, treating it like another tool in the director’s toolkit. But films are living things, and there are as many ways to draw the lines of categorization as there are films. Reevaluating movies of the past according to new and different models is one of the best ways to keep the medium from ossifying
2016 / Color / 1:78 widescreen / 82 96 min. / Street Date March 21, 2017 / available through Kino Lorber / 34.95
Starring: Violett Beane, Louie Arnette, Blair Jackson, Monty Muir, Chris Doubek, Reece Everett Ryan, Josephine McAdam, Aldo Ordoñez, Vicky Illk, John Fitch, Karen Davidson, Jeremy Brown.
Cinematography: Keith Maitland, Sarah Wilson
Film Editor: Austin Reedy
Original Music: Osei Essed
Produced by Megan Gilbride, Keith Maitland
Directed by Keith Maitland
Advance publicity on Keith Maitland’s Tower set me against it from the start.
This weekend, families with hit their local multiplex to relive the wonder of Beauty and the Beast in its new live-action format. And whether the film is a runaway hit or only a modest success, Disney shows no signs of plugging its pipeline of live-action remakes. According to this 2016 Time piece, Disney is currently working on no fewer than twelve (that’s one-two) remakes of their popular animated films, meaning twelve more movies featuring up-and-coming actresses, revamped musical numbers, and CGI creatures that take a deep, deep dive into the uncanny valley.
While this brand new surge of Disney movies are likely to each be a technical wonder, for my money, there’s something oddly pedestrian about converting the beautiful Disney animated character designs into a series of photorealistic CGI models. While
Read More: Robert Downey Jr. Teaming Up With Director Richard Linklater for ‘Man of the People’ Podcast Film Adaptation
Linklater wrote all three films with the stars of his trilogy. In honor of its Criterion release, IndieWire has assembled this guide to the collaborative production in the words of the people who brought it to life.
The Writing Process Was the Biggest Challenge
Linklater collaborated with his two leads to develop the characters over the course of several years. It
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Deftly combining archive footage, interviews and handsome rotoscoped animation, Tower is an innovative documentary account of the mass shootings on the University of Texas campus on 1 August 1966. A sniper armed with a cache of assault rifles opened fire from the observation platform of the clock tower. Sixteen people were killed and many more injured before the gunman was finally killed by two police officers and one civilian. Using actors (subsequently animated) reading the real-life accounts of the victims and witnesses, the film is as taut as a thriller but also creative in a way that a straight-up reconstruction could never be. The animation technique gives the film a similar look to Richard Linklater’s Waking Life or Ari Folman’s Waltz With Bashir, though
Today is Groundhog Day, where the myth lives on that a groundhog who sees his shadow will doom us to a longer winter than we deserve. Then there is Harold Ramis’ Groundhog Day, the film in which Bill Murray’s weatherman, Phil Connors mysteriously finds himself living the same day over and over again. On a traditional level the movie is a comedy, but it actually touches upon some really dark philosophical themes. It’s estimated by the filmmakers that Phil lives the same day for 10 years.
In honour of Groundhog Day, we’re taking a look back at ten other films that deal with time, memory, dreams, and repeated experiences. While there may be no film that tackles the topic as precisely as Groundhog Day, these
In it, Scorsese interspersed home videos of Prince’s childhood with his narrations of his wild stories, including a particularly outrageous one about the time he plunged an adrenaline shot into the heart of a girl who had overdosed on heroin. The scene was made famous by Quentin Tarantino’s “Pulp Fiction,” and Prince also tells the story in Richard Linklater’s “Waking Life.”
Read More: ‘Silence’ Review: Martin Scorsese Delivers a Gorgeous Crisis-of-Faith Drama
In a recently published video, one can hear Prince’s original version of the story that inspired Tarantino, alongside the famous scene it inspired,
Dede Gardner and I want to thank Michelle Satter and Anne Lai. It is extremely humbling to have this opportunity and to follow in a tradition of producers we respect and admire, speaking to their peers in a spirit of solidarity – producers being the boundary-less, restless misfits who clearly do not fit into any other facet of civilized society.
Read More: How ‘Moonlight’ Beat the Odds to Reach Theaters In African-American Neighborhoods
We want to thank Sundance Institute. Standing on the precipice of mass conglomeration, the disruption of the theatrical distribution business, and peak television, all this uncertainty, it is very hard to overstate what Sundance Institute, and the Sundance Film Festival, have given all of us all of these years.
I remember January 1999 like it was yesterday. This is the height of the Clinton impeachment proceedings. I was working an assistant job fresh out of college. I was very passionate about film,
Director Keith Maitland, like many documentarians, makes use of archival news footage and radio recordings to convey the horror of Charles Whitman’s rampage at the University of Texas.
Over the years, we’ve heard from our readers that one of the most important things we can do is to help you discover movies that may have slipped by mainstream audiences. And often just as important, our readers ask that we highlight voices that are in the minority in Hollywood. While we’re known for not taking ourselves very seriously, we take this part of our work seriously. Because as many studies have shown, there are some voices that aren’t as well-represented as others. Them’s the facts.
Beyond that, our team has a passion for seeking out and celebrating films directed by women. This is where we often find, as you’re about to see in this list, some of the most unique and interesting stories in the whole of cinema. Another thing we hear often from readers is
The most obvious reason is that “directing” seems antithetical to the spirit of nonfiction, which is about revealing unsullied truths about the world in which we live. Documentary directors have been generally regarded as observers or journalists, rather than as creative artists, and the Oscar process has, until recently, rewarded more conservative approaches to the form.
Such prominent documentary figures as Errol Morris and Werner Herzog worked for decades before the Academy honored them. Morris’ “The Fog of War” won the 2004 Oscar and Herzog’s “Encounters at the End of the World” was nominated in 2009. But even those films, as quirky and iconoclastic as they are, operated in the familiar spheres of journalistic interrogation and fact-filled nature docs. It’s always been expected
Read More: Field of Vision Founder Aj Schnack’s Powerful Short Visits Sites of Mass Shootings – Watch
Keith Maitland’s “Tower” is about the trauma that persists and how it’s sometimes possible to unearth and heal those wounds.
In broad daylight on August 1, 1966, the Austin campus of the University Texas was host to the United States’ first mass shooting at a school. From atop a tower in an open courtyard, sniper Charles Whitman held what was the equivalent of five city blocks of the campus hostage for 96 minutes, killing 17 people and wounding 32 others.
Dallas-born filmmaker Keith Maitland
Always Shine (Sophia Takal)
With the excess of low-budget, retreat-in-the-woods dramas often finding characters hashing out their insecurities through a meta-narrative, a certain initial resistance can occur when presented with such a derivative scenario at virtually every film festival. While Sophia Takal‘s psychological drama Always Shine ultimately stumbles, the chemistry of its leads and a sense of foreboding dread in its formal execution ensures its heightened view of
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