In today’s Side Swipes clip from “Side By Side,” the controversial Danish director sets out to debunk the mysterious nature of filmmaking he thinks is perpetrated by the studio system.
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In today’s Side Swipes clip from “Side By Side,” triple-threat phemon Lena Dunham (“Girls,” “Tiny Furniture”) describes her generation’s addiction to multi-platform technology.
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In today’s Side Swipes clip from “Side By Side,” veteran director Barry Levinson (“Rain Man,” “Diner,” “Wag the Dog”) makes no bones about the sheer force of the digital revolution, as evidenced by the virality of YouTube.
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The cinematographer behind “The Deer Hunter,” “Deliverance,” and “Close Encounters of the Third Kind” makes a case that—no matter how long the process takes—good lighting is a crucial step in filmmaking.
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In this exclusive outtake from “Side By Side,” eminent crowdpleaser George Lucas talks about how film fans now have unlimited choices at their fingertips—and what that means for filmmakers who want their work to be seen.
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How can independent films connect with audiences, both before and after release? In this Future of Film conversation on April 26, David Larkin (CEO & founder of GoWatchIt) and James Lawler (founder of Constellation) introduced their innovative new platforms.
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Filmmakers, take note! GE and Cinelan have extended their original August deadline for submissions to the Focus Forward competition to Sunday, October 7. You’ve still got time!
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Industrial Light & Magic’s Dennis Muren—an 8-time Oscar® winner—has created effects for more classics than we can count: Star Wars, The Empire Strikes Back, Jurassic Park, War of the Worlds, Terminator 2, E.T.... so when he warns against the dangers of CGI not looking real, budding effects makers should listen.
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The cinematographer of “I’m Not There,” “Erin Brockovich,” and Todd Haynes’ “Mildred Pierce” explains why longer takes and more footage can cause the point-of-view of the storytelling to disappear.
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The veteran cinematographer of “Total Recall,” “Robocop,” and “Starship Troopers” does not mince words about his feelings on digital filmmaking and those who champion it. Do you agree or disagree?
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