In advance of its October 24 VOD release, get a cheeky taste of “The Comedy,” a unique character study starring Tim Heidecker (“Tim and Eric Awesome Show, Great Job”) as an aging, aimless hipster afloat in Brooklyn. Some people like it, kind of.
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In these deleted scenes from “Side By Side,” director Robert Rodriguez describes filming “Grindhouse” with Quentin Tarantino, and sound mixer Walter Murch talks about how our eyes process digital differently.
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Christmas brings out the best and worst in families, and the Fitzgeralds are no exception. Edward Burns reunites with “The Brothers McMullen” castmates Connie Britton and Michael McGlone in this family drama, set for a late-November release.
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Tribeca joins the global artistic community in calling for the release and freedom of Syrian filmmaker Orwa Nyrabia, detained last week in Damascus.
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The master sound and film editor (“Apocalypse Now,” “Godfather: Part II,” “The English Patient”) shares his view from the filmmaking trenches.
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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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Is digital the new Botox? The noted indie actress/screenwriter talks about processing her next movie—shot on the Canon 5D—so it looks like Woody Allen’s “Manhattan.”
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In this Future of Film talk from April 26, Andrew Weissman (Union Square Ventures) and Jason Hirschhorn (Media ReDEFined) discuss the multitude of innovative tools available to filmmakers in this brave new (internet and social) world.
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Mike Leigh’s longtime cinematographer Dick Pope (he also shot Linklater’s “Bernie”) talks about why he prefers his cinema without tricks. Is 3-D just a fad? Check out the entire Side Swipes archive of deleted clips from “Side By Side.”
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In this clip from our Side Swipes series, pioneering director James Cameron explains that even babies know 2-D images are not “real.” 3-D, however… that’s another story.
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Cinematographer Michael Ballhaus (“The Departed,” “Goodfellas”) worries that emotional images, once strictly captured on film, will not have the same effect digitally. Do you agree?
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In today’s Side Swipes clip from “Side by Side, ” cinematographer Donald McAlpine (“Moulin Rouge,” “Predator”) discusses the ever-evolving nature of the moviemaking process. In of world where digital is becoming more and more common, is film too wasteful a medium to last?
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David Fincher ("The Social Network," "Fight Club") discusses the responsibility of the director to create an environment that allows audiences to look from the inside out, never from the outside in.
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In today's outtake from Side by Side, Robert Rodriguez ( "Machete," "Sin City") recounts a very special visit to Skywalker Ranch, which involved giving a presentation to Steven Spielberg, Martin Scorsese, Oliver Stone and other renowned directors on the advantages of digital filmmaking.
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Side Swipes is a daily video series featuring clips from “Side By Side” that didn‘t make the final cut. Reed Morano, the cinematographer behind “Frozen River,” and “For Ellen,” paints a hopeful future for budding DPs who still want to shoot on film. It may just be as simple as putting on your “producer’s” hat.
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Acclaimed cinematographer Ellen Kuras (“Summer of Sam,” “Eternal Sunshine of the Spotless Mind”) wonders: in a world with the ever-changing formats of digital production, how will filmmakers preserve their work?
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