1-20 of 25 items from 2016 « Prev | Next »
At one point in Ira Sachs’ Little Men, the young Jake (Theo Taplitz) explains to his parents (played by Greg Kinnear and Jennifer Ehle) how they can avoid evicting their tenant, Leonor (Paulina García), from the store she’d been renting from his late grandfather for years. Jake’s simple economic plan makes the heart ache because of how perfect it is: it calls for empathy, equality, and, without being completely naive, proposes something that could be achievable within the right political system. But his plan is even more heartbreaking because he knows it’s his last chance to salvage his friendship with Tony (Michael Barbieri), Leonor’s adolescent son, who’s become his closest, dearest friend. As the adults stand in disbelief of Jake’s plea, is he addressing their inner child or are they merely getting a preview of the troublesome teenage years ahead? Sachs makes us wonder »
- Jose Solís
“Suicide Squad” (Warner Bros./DC Comics) will push the summer box office way ahead. The last two weeks have seen a strong rebound after a summer down over 20% from last year’s record-setter. And “Suicide Squad,” despite weak reviews, won’t disappoint.
With projections approaching $150 million at the high end ($120 million at the low), “Squad” will even in adjusted numbers outperform any previous August release. (The record in raw numbers is “Guardians of the Galaxy” at $94 million, adjusted $101 million; “Rush Hour 2” adjusted is $103 million).
That returns the 2016 box office to the record levels of February and March set by Marvel’s “Deadpool” and DC’s “Batman v Superman.” Year to date remains slightly up (2.6%). “Squad” will increase that number.
The weekend one year ago saw the debut of “Straight Outta Compton” and a Top Ten of $113 million, less than the gross “Squad” will likely accomplish on its own.
- Tom Brueggemann
Want to see two young actors give breakthrough performances? Then watch in Little Men, an intimate gem of a film directed by Ira Sachs, which means they're in the best of caring hands. What Sachs (The Delta, Forty Shades of Blue) and cowriter Mauricio Zacharias, who collaborated with the filmmaker on the gay-themed dramas Keep the Lights On and Love Is Strange, conjure up here is a serious pleasure, filled with messily human characters whose thoughts and feelings don't necessarily emerge from the words they speak. You have to lean in and pay attention. »
When mulling over Ira Sachs’ last handful of films – the intimately sketched, ephemeral epics of the heart, body, and soul, Keep The Lights On and Love is Strange, as well as his upcoming Little Men – a jokey poke from David Wain’s They Came Together immediately pops to mind: New York, a common setting between Sachs’ three aforementioned stories, “it’s almost like another character in the movie!”
After chronicling the city through a queer lens from the 1990s until now, Sachs will join forces with Cary Fukunaga to wind the clock back another decade to bring Christodora to the small screen – a interlocking character drama set in a 1980s East Village apartment building, built around devastation and communal connection in the midst of the AIDS crisis. Props to Sachs, for his New York stories always incorporate the city into the narrative in a way that isn »
- Daniel Crooke
It takes 12 minutes and 23 seconds to run from Jake’s apartment to Tony’s, but there’s an entire world in the space between their two Brooklyn homes. Thirteen-year-old Jake (a sensitive and severely empathetic Theo Taplitz) is a white fourth or fifth generation American kid whose grandfather — the longtime owner of a small apartment building — has just passed away. Tony (Michael Barbieri, a pint-sized Robert De Niro) is the son of a Chilean immigrant, and his mother — a sharp seamstress played by “Gloria” star Paulina García — has rented the retail space on the ground floor of that same apartment building for as long as anyone can remember.
For years, the two families of these new friends have lived in harmony, but the times they are a-changin.’ And when Jake’s father (Greg Kinnear), a struggling actor, inherits the real estate and insists that his tenants actually begin paying their full rent, »
- David Ehrlich
Before all else, Ira Sachs is a humanist filmmaker. Of course, most films are about people in one way or another, so perhaps that description fits anyone who steps behind the camera. But there’s something unexpectedly candid about the way Sachs presents human beings to his audience, in tenderly rendered but unsentimental movies like Keep The Lights On and Love Is Strange. In the milieus of Ira Sachs (typically New York City), characters find themselves in a safe space to be both who they are and who they’d like to become.
This approach carries over in his most recent film, Little Men, a drama that subtly depicts the wave of gentrification plaguing our country’s largest cities. The film also focuses on two preteens whose burgeoning friendship is tested when their respective parents are at odds over the renewal of a dress-shop lease. Sachs sat down with The »
- Sam Fragoso
Ira Sachs was shooting a chase scene. This should come as a surprise to anyone familiar with the delicate, understated dramas that have become Sachs’ trademark ever since his first feature, a tale of closeted gay youth called “The Delta,” 20 years ago. Sachs’ Sundance-winning “Forty Shades of Blue” tracked intimate familial complications of a music producer past his prime, while his last two features, “Keep the Lights On” and “Love Is Strange,” delivered measured looks at queer urban identity against the backdrop of modern gentrification. Only 2007’s “Married Life” included the hints of a thriller, but it was something of a red herring in the context of a plot about well-to-do couples scheming against each other. But this chase scene was a different story — evidence that Sachs wanted to try something different.
It was August »
- Eric Kohn
Writer-director Ira Sachs uniquely knows New York City and continues to explore its neighborhoods in his latest indie gem, Little Men. After previous looks at city life in Keep the Lights On and Love Is Strange, Sachs sets his sights on the coming-of-age tale of two 13-year-old boys whose budding friendship is undermined by the business conflict between their parents. Isn’t that always the way with grown-ups — messing everything up? Jake (Theo Taplitz) meets Tony… »
When Greg Kinnear is not making goofy, self-deprecating guest appearances on “BoJack Horseman,” he’s also starring in indie dramas about New York City, young friendships, and family turmoil, like Ira Sach’s new film “Little Men.”
Read More: Growing Up at Sundance, Being Rejected from Film School and More Highlights from Ira Sachs’ Masterclass
The movie follows 13-year-old Jake Jardine (Theo Taplitz), an aspiring artist living in Manhattan with his struggling actor father Brian (Kinnear) and psychotherapist mother Kathy (Jennifer Ehle). When Jake’s grandfather dies, the family moves back into his Brooklyn home where Jake quickly befriends Tony (Michael Barbieri), the son of Chilean dressmaker and single mother Leonor (Paulina Garcia) who owns a shop in the building. Though the kids become close friends, the adults are at each other’s throats when Brian and Kathy ask Leonor to sign a steeper lease on the store, an untenable »
- Vikram Murthi
New York City’s own Museum of Modern Art has announced their plans for, per their press release, “a complete, mid-career retrospective of the films of Ira Sachs, a filmmaker who, in the course of seven features and five short films, has established himself as one of the singular voices in American cinema.”
The retro will take place from July 22 to August 3 under the title “Thank You for Being Honest: The Films of Ira Sachs” and will include the full scope of Sachs’ works, from his experimental shorts to insightful social comedies (including his newest film, “Little Men”) to piercing autobiographical dramas. The program includes titles like “The Delta,” “Married Life,” “Keep the Lights On” and “Love is Strange.”
The series will open with his Sundance premiere “Forty Shades of Blue,” which won the Sundance 2005 U. »
- Kate Erbland
This month, Brooklyn plays home to the annual BAMCinemaFest, featuring both some tried and true festival favorites (imagine if Sundance just happened to take place in New York City in the summer) and some brand-new standouts. Here’s the best of what’s on offer, as curated and culled by the IndieWire film team.
“Little Men” New York City-centric filmmaker Ira Sachs has long used his keen observational eye to track the worlds of the city’s adult denizens with features like “Love is Strange” and “Keep the Lights On,” but he’s going for a younger set of stars (and troubles) in his moving new feature, “Little Men.” The new film debuted at Sundance earlier this year, where it pulled plenty of heartstrings (including mine) with its gentle, deeply human story of two seemingly different young teens (Theo Taplitz as the worldly Jake, Michael Barbieri as the more rough and tumble Tony) who quickly bond when one of them moves into the other’s Brooklyn neighborhood. Jake and Tony become fast friends, but their relationship is threatened by drama brewing between their parents, as Jake’s parents own the small store that Tony’s mom operates below the family’s apartment.When Jake’s parents (Greg Kinnear and Jennifer Ehle) are bothered by looming money troubles, they turn to Tony’s mom (Paulina García) and ask her to pay a higher rent, a seemingly reasonable query that has heart-breaking consequences for both families and both boys. It’s a small story that hits hard, thanks to wonderful performances and the kind of emotion that’s hard to fake. – Kate Erbland “Kate Plays Christine”
It’s usually easy enough to find common themes cropping up at various film festivals, but few people could have anticipated that this year’s Sundance would play home to two stories about Christine Chubbuck, a tragic tale that had been previously unknown by most of the population (the other Chubbuck story to crop up at Sundance was Antonio Campos’ closely observed narrative “Christine,” a winner in its own right). In 1974, Chubbuck — a television reporter for a local Sarasota, Florida TV station — killed herself live on air after a series of disappointing events and a lifetime of mental unhappiness. Robert Greene’s “Kate Plays Christine” takes an ambitious angle on Chubbuck’s story, mixing fact and fiction to present a story of an actress (Kate Lyn Sheil) grappling with her preparations to play Chubbuck in a narrative feature that doesn’t exist. Sheil is tasked with playing a mostly real version of herself, a heightened version of herself as the story winds on and even Chubbuck in a series of re-enactments. The concept is complex, but it pays off, and “Kate Plays Christine” is easily one of the year’s most ambitious and fascinating documentaries. – Ke
This eye-opening documentary focuses on Brooklyn-based tailoring company Bindle & Keep, which designs clothes for transgender and gender fluid clients. Produced by Lena Dunham and her “Girls” producer Jenni Konner, the HBO Documentary looks at fashion through the eyes of several people across the gender identity spectrum, including a transitioning teen in need of a suit for his Bar Mitzvah and a transgender man buying a tuxedo for his wedding. The film has a deep personal connection to Dunham, whose gender nonconforming sister Grace has been a vocal activist within the transgender community. “Suited” is the first solo-directing effort from Jason Benjamin, who previously co-directed the 2002 documentary “Carnival Roots,” about Trinidad & Tobago’s annual music festival. – Graham Winfrey
Todd Solondz’s first directorial effort since 2011’s “Dark Horse” is literally about an animal this time. “Wiener-Dog” follows a dachshund that goes from one strange owner to the next, serving as a central character in four stories that bring out the pointlessness of human existence. The offbeat comedy’s stellar cast includes Greta Gerwig, Danny DeVito, Julie Delpy and “Girls’” Zosia Mamet. Amazon nabbed all domestic media rights to the film at this year’s Sundance Film Festival, while IFC Films is handling the theatrical release. Financed by Megan Ellison’s Annapurna Pictures and produced by Christine Vachon’s Killer Films, the film marked Solondz’s first movie to play at Sundance since 1995’s “Welcome to the Dollhouse.” – Gw
Eagle Pennell has become lost to film history, despite making two of the most important films of the modern indie era. His 1978 film “The Whole Shootin’ Match” inspired Robert Redford to start Sundance and his 1984 classic “Last Night at the Alamo” has been championed by Tarantino and Linklater, who along with IFC Films and SXSW founder Louis Black is responsible for the restoration that will be playing at Bam. “Alamo,” which tells the story of a cowboy’s last ditch effort to save a local watering hole, is credited for having given birth to the Austin film scene and for laying the groundwork for the rebirth of the American indie that came later in the decade. Pennell’s career was cut short by alcoholism, but “Alamo” stands tribute to his incredible talent, pioneering spirit and the influence he’s had on so many great filmmakers. – Chris O’Falt
Read More: Indie Legend Who Inspired Sundance, ‘Reservoir Dogs’ And More Will Have Classic Films Restored
“Author: The J.T. LeRoy Story”
J.T. Leroy was an literary and pop culture sensation, until it was revealed that the HIV-positive, ex-male-prostitute teenage author was actually the creation of a 40 year old mother by the name Laura Albert. Jeff Feuerzeig’s documentary, starring Albert and featuring her recorded phone calls from the hoax, is the best yarn of 2016. You will not believe the twist-and-turns of the behind the scenes story of how Albert pulled off the hoax and cultivated close relationships (with her sister-in-law posing at Jt) with celebrities like filmmaker Gus Van Sant and Smashing Pumpkins’ Bill Corgan, both of whom play key supporting roles in this stranger-than-fiction film. Trust us, “Author” will be one of the most entertaining films you see this summer. – Co
Loosely based on the 2012 shooting in Aurora, Colorado during a multiplex screening of “The Dark Knight,” Tim Sutton’s elegantly designed “Dark Night” contains a fascinating, enigmatic agenda. In its opening moments, Maica Armata’s mournful score plays out as we watch a traumatized face lit up by the red-blue glow of a nearby police car. Mirroring the media image of tragedy divorced from the lives affected by it, the ensuing movie fills in those details. Like Gus Van Sant’s “Elephant,” Sutton’s ambitious project dissects the moments surrounding the infamous event with a perceptive eye that avoids passing judgement. While some viewers may find this disaffected approach infuriating — the divisive Sundance reaction suggested as much — there’s no doubting the topicality of Sutton’s technique, which delves into the malaise of daily lives that surrounds every horrific event of this type with a keen eye. It may not change the gun control debate, but it adds a gorgeous and provocative footnote to the conversation. – Eric Kohn
Musa Syeed’s tender look at a Somali refugee community in Minneapolis puts a human face on the immigration crisis through the exploits of Adan (Barkhad Abdirahman), a young man adrift in his solitary world. Kicked out by his mother and unwelcome at the local mosque where he tries to crash, Adan meets his only source of companionship in a stray dog he finds wandering the streets. Alternating between social outings and job prospects, Adan’s struggles never strain credibility, even when an FBI agent tries to wrestle control of his situation to turn him into a spy. Shot with near-documentary realism, Syed’s insightful portrait of his forlorn character’s life recalls the earlier films of Ramin Bahrani (“Man Push Cart,” “Chop Shop”), which also capture an oft-ignored side of modern America. With immigration stories all too frequently coopted for political fuel, “A Stray” provides a refreshingly intimate alternative, which should appeal to audiences curious about the bigger picture — or those who can relate to it. – Ek
After making a blistering impression at the Sundance Film Festival earlier this year, Andrew Neel’s fraternity psychodrama “Goat” comes to Bam with great acclaim and sky high anticipation. Starring breakout Ben Schnetzer and Nick Jonas, the film centers around a 19-year-old college student who pledges the same fraternity as his older brother, only to realize the world of hazing and endless parties is darker than he could ever imagine. In lesser hands, “Goat” would be a one-note takedown of hedonistic bro culture, but Neel’s slick direction brings you to the core of animalistic behavior and forces you to weigh the clashing egos of masculinity. By cutting underneath the layers of machismo, Neel creates a drama of insecurities buried beneath the war between predator and prey. It’s an intense and intelligent study of a world the movies have always been obsessed with. – Zack Sharf
Brady Corbet has been one of the most reliable supporting actors in films like “Funny Games,” “Force Majeure,” “Clouds of Sils Maria” and more, and he even broke through as a lead in the great indie “Simon Killer,” but it turns out Corbet’s real skills are behind the camera. In his directorial debut, “The Childhood of a Leader,” the actor creates an unnerving period psychodrama that evokes shades of “The Omen” by way of Hitchcock. Set in Europe after Wwi, the movie follows a young boy as he develops a terrifying ego after witnessing the creation of the Treaty of Versailles. Cast members Robert Pattinson and Berenice Bejo deliver reliably strong turns, but it’s Corbet’s impressive control that makes the film a tightly-wound skin-crawler. His ambition is alive in every frame and detail, resulting in a commanding debut that announces him as a major filmmaker to watch. – Zs
Meet your new obsession: A spellbinding homage to old pulp paperbacks and the Technicolor melodramas of the 1960s, Anna Biller’s “The Love Witch” is a throwback that’s told with the kind of perverse conviction and studied expertise that would make Quentin Tarantino blush. Shot in velvety 35mm, the film follows a beautiful, sociopathic, love-starved young witch named Elaine (Samantha Robinson, absolutely unforgettable in a demented breakthrough performance) as she blows into a coastal Californian town in desperate search of a replacement for her dead husband. Sex, death, Satanic rituals, God-level costume design, and cinema’s greatest tampon joke ensue, as Biller spins an arch but hyper-sincere story about the true price of patriarchy. – David Ehrlich
Coming-of-age movies are a dime a dozen (and the going rate is even cheaper at Sundance), but Chad Hartigan’s absurdly charming follow-up to “This Is Martin Bonner” puts a fresh spin on a tired genre. Played by lovable newcomer Markees Christmas, Morris is a 13-year-old New Yorker who’s forced to move to the suburbs of Germany when his widower dad (a note-perfect Craig Robinson) accepts a job as the coach of a Heidelberg soccer team. It’s tough being a teen, but Morris — as the only black kid in a foreign town that still has one foot stuck in the old world — has it way harder than most. But there’s a whole lot of joy here, as Hartigan’s sweet and sensitive fish out of water story leverages a handful of killer performances into a great little movie about becoming your own man. – De
BAMCinemaFest 2016 runs from June 15 – 26.
Stay on top of the latest breaking film and TV news! Sign up for our Festivals newsletter here.
Related storiesChristine Chubbuck: Video Exists of Reporter's On-Air Suicide That Inspired Two Sundance Films'Wiener-Dog' Trailer: Greta Gerwig Befriends a Dachshund in Todd Solondz's Dark Sundance Comedy'Little Men,' 'Wiener-Dog' and More Set for BAMcinemaFest 2016 -- Indiewire's Tuesday Rundown »
- Kate Erbland, Eric Kohn, David Ehrlich, Zack Sharf, Chris O'Falt and Graham Winfrey
Chicago – The Chicago Critics Film Festival (Ccff) keeps rolling, and it’s a blockbuster so far. Actors Michael Peña and Craig Robinson, along with director Ira Sachs, made appearances on behalf of their films “War on Everything,” “Morris from America” and “Little Men.” The festival runs through May 26th, 2016.
Photo credit: Dann Gire, Daily Herald
Throughout the 2016 festival, audiences can expect amazing cinema from the first quarter major festivals – including Sundance and South X Southwest – and there are a couple more director and celebrity appearances to go. For a complete schedule of these events and the films, click here.
Since this is a film festival curated by the Chicago critics, Patrick McDonald of HollywoodChicago.com has asked some of the participating film critics to contribute to the Michael Peña interview, because it was a one-question-red-carpet situation (they will »
- email@example.com (Adam Fendelman)
BAMcinemaFest, New York's premier independent film showcase, returns for its eighth edition with a typically eclectic, wide-ranging slate presenting some of the most interesting, challenging, and acclaimed American independent films to play the festival circuit. Screening from June 15 through 24 at Bam Rose Cinemas, it features veteran filmmakers alongside newer talents, including several first features. The festival opens with Little Men, the latest acclaimed feature from Ira Sachs (Love Is Strange, Keep the Lights On); features Wiener-Dog as its centerpiece, the latest provocation from Todd Solondz, that sardonic chronicler of suburbia; and closes with Dark Night, the latest from Tim Sutton (Memphis, Pavillion), one of the most visually gifted filmmakers currently working, who takes on the potentially disturbing subject of a mass shooting loosely inspired by events in Aurora,...
[Read the whole post on twitchfilm.com...]
While the marquee name attractions in “Little Men” are Greg Kinnear, Jennifer Ehle, and Alfred Molina, the real stars of the film are Theo Taplitz and Michael Barbieri. They’re the young teenagers who lead this unique drama from Ira Sachs who, following the heart-bursting pictures “Keep The Lights On” and “Love Is Strange,” offers another slice […]
- Kevin Jagernauth
March 2016 is a sad month for some Netflix subscribers.
Say goodbye to '90s films "American Pie" (1999), "Hackers" (1995), Mel Gibson's "Hamlet" (1990), "Indecent Proposal" (1993) and "Jumanji" (1995) in March. Also disappearing: Will Smith movies "Hitch" (2005) and "Men in Black II" (2002), as well as oodles of TEDTalks that are all expiring next month.
Here's the complete list of what's leaving Netflix streaming in March.
Leaving March 1, 2016
"American Pie" (1999)
"American Wedding" (2003)
"Atlantis: The Lost Empire" (2001)
"The Babysitters" (2007)
"The Chosen One" (2010)
"Down and Out in Beverly Hills" (1986)
"Gone in 60 Seconds" (2000)
"Hannie Caulder" (1971)
"Hart's War" (2002)
"Indecent Proposal" (1993)
"Johnny Dangerously" (1984)
"Masters of the Universe" (1987)
"Men in Black II" (2002)
"The Monster Squad" (1987)
"Not Another Teen Movie" (2001)
"The United States of Leland" (2003)
Leaving March 2, 2016
"Stevie Nicks: In Your Dreams" (2013)
Leaving March 3, 2016
"Night Catches Us" (2010)
Leaving March 4, 2016
- Sharon Knolle
It's time to bulk up your Netflix queue, people, because the streaming giant is putting quite a few movies and TV shows on the chopping block throughout March. From hilarious titles like American Pie to tearjerkers like Hardball, check out which of your favorites are disappearing soon, and then see everything that's definitely here to stay, plus the new movies and shows coming in March! Expiring March 1 Switchmas Alvin and the Chipmunks Meet the Wolfman American Pie American Wedding Atlantis: The Lost Empire Down and Out in Beverly Hills Emily Bronte's Wuthering Heights Gone in 60 Seconds Hackers Hamlet Hannie Caulder Hardball Hart's War Hitch Indecent Proposal Johnny Dangerously Jumanji Masters of the Universe Men in Black II Not Another Teen Movie Paycheck The Babysitters The Chosen One The Monster Squad The United States of Leland Wings Expiring March 2 Stevie Nicks: In Your Dreams Expiring March 3 Night Catches Us »
- Quinn Keaney
Little Men review by Paul Heath at the Berlin Film Festival, 2016. Little Men is the latest independent production from Ira Sachs, the talented film-maker behind Love Is Strange and Keep The Lights On. The film makes its debut at the Berlin Film Festival following its world premiere at this year’s Sundance.
The drama is set during one summer in Brooklyn, New York where Jake (Theo Taplitz), along with Kathy and Brian, his mother and father, Jennifer Ehle (in her second role at Berlinale ’16 following Terence Davies’ A Quiet Passion) and Greg Kinnear, has moved into his late grandfather’s house. Beneath the house lies a shop, which is run by Italian seamstress Leonor. Her son, Tony (Michael Barbieri), instantly forms a friendship with young »
- Paul Heath
Bob Hawk is the Pierre Rissient of American Independent Films. Pierre was for French cinema what Bob is to American independent cinema. When he discovered a film and told Cannes about it, Cannes programmed it. Those who know Pierre and those who know Bob know that their influence cannot be quantified by the number of films they have fostered in one way or another. Bob’s influence extends in innumerable ways throughout the independent film world. Independent films are Bob Hawk's life, and now his life is an independent film.
After the thrill of watching the documentary “Film Hawk” by Jj Garvine and Tai Parquet whose first, ever-so-shocking film “Keeping the Peace” in 2009 was about the brutal and first such beheading in Iraq, I was whisked off to lunch with Bob and the filmmakers Jj Garvine and Tai Parquet. It seemed as if our lunch were a continuation of the film, so alive and vivid was the film and so full of references and ideas was our conversation.
We immediately began a non-stop talk of passionate love for movies. Bob showed me the tee shirt he wore just for our lunch, a Filmmaker Magazine tee from the early days when Indiewire’s offices were upstairs in the Filmmaker offices. In all the scenes of this film, his tee shirts are remarkable for titles he primarily has worked on or been somehow attached to. He must have hundreds of such mementos of his life.
So how did you make this film? I finally asked, because even if this is “the usual sort of question we get” according to Jj, it is really of interest to me.
Jj and Tai ‘s first film, “Keeping The Peace”, premiered and won the Audience Award at the 2009 Philadelphia Independent Film Festival and went on to be selected for the PBS Pov "United States of Documentaries” series. They are often indistinguishable themselves in their simultaneously answering questions or commenting on the talk. “We decided to make this movie on the day before his 74th birthday when we all went to the IFC Center in New York to see the Spalding Gray movie by Steven Soderbergh. We had a three hour dinner and learned so much about Bob. We then met Soderbergh. Going home we thought his life would make a great story. We knew him because he helped us with our film ‘Keeping the Peace’ but we had never talked about anything but the movie at that time. We said to him, ‘What if we made a short about your life?’ He said ‘What?’ And that was it.
“Film Hawk” itself is a broad swatch of a life well-lived with honesty and integrity. Surrounded by loving family and friends – although he and his brother as boys fought hard and often with each other as they grew up in very different ways. Bob veered toward art and his brother toward sports. Bob knew at an early age he was gay but his brother was strictly sports and girls. They were the sons of a minister, a minister who preached love. Their mother was a copy editor and proofreader – initially of insurance documents -- and Bob credits her with his own love for editing and proofreading. He proofread auction catalogs and the Sharper Image catalog at one point in his life.
Bob: “My mother, who lived to be 97, was a proofreader to the end. She edited and proofed the monthly newsletter of the home in which she lived in good health until she died. In fact, she proofread the April edition of the home’s newsletter, the very month she died.”
He did not like having to be the exemplary son of a minister and he had a stutter. At one point, hearing his father’s oratorical voice in the church, he realized there was a thin line between the church and theater and he choose theater as a young child and he credits his father for his love of dramaturgy and theater.
When he acted, his stutter disappeared and so he acted, though he much preferred working behind the scenes.
Our conversation switched between talk of film and talk of Bob the man. For he is incredibly full of love and life, a man whose boundaries include public and private love and film in one full embrace.
Bob grew up loud and proud, working as a techie Off Broadway in New York City. Even as a high school student he often went to New York City and explored both live theater and underground movies like Jean Genet’s “Un Chant d’Amour” and Kenneth Anger’s “Scorpio Rising”. Those were the predecessors to independent movies, he says.
Eventually he moved to stage managing in San Francisco where he met filmmaker Rob Epstein and contributed his thoughts to the seminal gay-themed documentary “Word Is Out”, made by a film collective that included Rob.
Tai: “Bob was an activist and that led him to film. In 1976 ,when the five hour rough cut of “Word is Out” was previewed for the public in a work-in-progress screening, Bob’s notes as a member of the audience were volumes of comments. In 1978 when Mayor George Moscone and Supervisor Harvey Milk were shot and killed by another supervisor, he and Rob, with whom he had become friends, both knew a film had to be made, but it took five years of grassroots fundraising.
Bob: “Rob and producer Richard Schmiechen initially went to Kqed, San Francisco’s public television station, but they turned it down, saying the story was too local. So they went to Wnet in New York, who provided funding for a one hour version. Then we realized that ‘The Times of Harvey Milk’ needed to be a feature, so we went again to Wnet and they gave us the additional money. This was the first film I worked on, as print media researcher and archivist.”
Jj: “Bob researched not only Harvey Milk but the whole era.”
Bob: “I had volumes -- over 600 news and magazine articles -- all organized by 20 main topics like Harvey Milk, George Moscone, Trial, Verdict, Riot, Gay Climate, Dan White and they were cross referenced, so when we had to speak about any subject, we had it ready.”
Says Tai , “Bob’s emphasis is always on storytelling. He even has a sense of arc in his copy editing.”
Tai thought he was a great writer, but Bob is not so sure.
Says Jj : “Bob is not good at original copy because he’s such an editor himself.”
Bob: “Yes, when I write, I feel my editor self looking over my shoulder.”
“The weakness of some narrative indies is that the filmmakers are so eager to shoot that they do not fully develop the script beforehand.”
So Bob is the articulate but silent spokesman for indies, always behind the scenes, editing and tightening scripts, reading copy and imperceptibly influencing a vast body of independent film today.
Tai: “He is like a drop of water in a small stream which he knows runs to the sea and which affects the very water of the ocean.
“Bob is not about connections. He’s about connection.”
There was so much research done for Film Hawk, you must have worked very hard.
Jj: We just listened to Bob and followed all the leads he gave us.
Tai: “Bob is not associated as strictly ‘gay’ or for gay films only. You can see that in his long term relationship to ‘Brothers McMullen’ in the film, but homosexuality is as intrinsic to him as is his whole childhood. He is secure in himself as a person”.
Bob Hawk’s keen insights and feedback became the precious wind that provided flight for many filmmakers. This fiery, eccentric fairy Godfather of indie film not only battled depression, but was the first to discover and champion the talents of Kevin Smith (“Clerks”, “Chasing Amy”), Edward Burns (“The Brothers McMullen”, “Purple Violets”), Ira Sachs (“Keep The Lights On”, “Love Is Strange”) and Scott McGehee and David Siegel (“The Deep End”, “What Maisie Knew”).
Here are what a few have to say about him:
"Bob was always there to encourage me. Bob is a friend and a mentor"
- Ed Burns
With his 30+ year Sundance presence - including work as consultant, programmer, moderator, juror, and impassioned viewer - usually seated front-row and often asking the first question (as in the case of the “Sex, Lies and Videotape” world premiere) Bob deserves kudos and honors and yet has never sought the spotlight for himself.
Not only is this a film about film, but about a man who is as intrinsic to indie films as is the drop of water in a stream that goes into the ocean, but this film should also stand up in educational venues – whether about filmmaking or about standing proud as a gay man in the world.
In many ways this film recalls the classic “Bill Cunningham” that Zeitgeist had such success with in that both films are quintessentially New York films about men whose calling is their life-long love; each is a living example of the importance of love for one’s self and for one’s life lived with passion. “Film Hawk” deserves to be seen at the IFC Center, in the center of New York.
Bob grew up in that time in the 50s when to be gay meant very little to society. Gay men married, had children and if they were lucky they did not find their dual role in life unsettling. He was just at the edge and realized he did not have to go the marriage route and have children, and so he went the art route and his children are numerous.
Bob will be speaking at the Berlinale Queer Academy during the 30th Anniversary of the Teddy Awards and a clip of the film will accompany him. He is also receiving a Maverick of the Year Award from Cinequest this month. »
- Sydney Levine
New York-based writer/director Ira Sachs arrives in Berlin with the Sundance-preemed “Little Men,” which he describes as “a film about two boys who become best friends as their parents become best enemies.” Following “Forty Shades of Blue” (2005), the Teddy-winning “Keep the Lights On” (2012) and “Love Is Strange” (2014), it’s his fourth Panorama drama and his fifth trip to the fest, including a 2010 visit with his documentary short, “Last Address.” While Sachs sheepishly admits to not knowing the city as well as he should, he offers a few tips from his years spent rushing through it.
Eat and greet
“Little Men” used to be called “Thank You for Being Honest,” so I’m gonna be honest: I’m not the one to ask. I’m always the guy who’s woken up late, trying to get to a screening and grabbing a sandwich or a bowl of onion soup in a mall. »
- Gregg Goldstein
The film premiered at this year’s Sundance Film Festival, where it drew strong reviews, particularly for the performances of its two youthful leads, Theo Taplitz and Michael Barbieri. “Little Men” centers on two teenagers whose friendship is tested when their parents become embroiled in a real estate dispute. Greg Kinnear, Jennifer Ehle and Paulina Garcia co-star in the picture.
In a positive notice, Variety critic Peter Debruge wrote that “Little Men” is a “little movie brimming with little truths about modern life. It won’t change the world, but it does understand it.”
The film is the third collaboration between Sachs and co-writer Mauricio Zacharias, following “Love Is Strange” and “Keep the Lights On,” and forms a loose trilogy exploring modern urban life. It will »
- Brent Lang
1-20 of 25 items from 2016 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners