Why Watch? If this column is often about finding noteworthy amateur talent, this quick hit to the temples from John Keefer definitely fits the bill. In it, a gun for hire grows a conscience at the wrong time, but it’s the least of his problems since he can’t see straight through the blinding pain and strange visions. Keefer shows some serious skill for throwing punches and delivering us into the confused mind of the killer. It would be excellent to see what he could do with a real effects budget. What will it cost you? Only 3 minutes. Skip work. Watch more short films.
- 9/25/2012
- by Cole Abaius
- FilmSchoolRejects.com
Director Peter Jackson has had one of the most unusual journeys in contemporary film history, going from frantic micro-budgeted shock-horror-comedy grossouts shot in his native New Zealand in the mid-80s to helming some of the biggest-budgeted and highest-grossing screen fantasies ever, notably the once-deemed impossible-to-film Lord of the Rings trilogy. His latest picture is an adaptation of the horrific and hopeful afterlife saga The Lovely Bones, based on Alice Sebold’s best-selling novel about a young girl’s quest for peace and resolution in the wake of her brutal rape and murder.
Jackson graciously consented to entertain questions from The Auteurs community members for a brief interview, which was conducted by Notebook contributor and former Premiere film critic Glenn Kenny. We were able to successfully pitch five questions; they, and their answers, follow.
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Kyle St-amour-brennan asks: What are your thoughts on the current economic climate in relation to film production?...
Jackson graciously consented to entertain questions from The Auteurs community members for a brief interview, which was conducted by Notebook contributor and former Premiere film critic Glenn Kenny. We were able to successfully pitch five questions; they, and their answers, follow.
***
Kyle St-amour-brennan asks: What are your thoughts on the current economic climate in relation to film production?...
- 12/8/2009
- MUBI
by Craig PhilipsRay Morton's article in the new issue of Script magazine (an article I believe is only available in print), called "Going Global: Screenwriting in the International Marketplace," features an interesting section, "Remake Out," on the surprising number of properties exported from America to other countries. (We all know about the sheer number of Us remakes of foreign titles—which Morton also writes about.) While this section doesn't represent everything I necessarily believe in, it's important food for thought: Remake Out
Traditionally, Hollywood has always been an exporter—our movies play in every market in the world and our television shows have been dubbed into most known languages. Lately, we have even begun to export our history as a number of Us film companies have licensed remake rights to some of their movies to overseas producers. For example, in May 2007, Viacom made a deal with Studio 18--India's largest film...
Traditionally, Hollywood has always been an exporter—our movies play in every market in the world and our television shows have been dubbed into most known languages. Lately, we have even begun to export our history as a number of Us film companies have licensed remake rights to some of their movies to overseas producers. For example, in May 2007, Viacom made a deal with Studio 18--India's largest film...
- 7/21/2009
- GreenCine Daily
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