![Image](https://m.media-amazon.com/images/M/MV5BMjgxZWYxMTAtZTViOC00NDFjLTg5YzYtY2E3YTU2ODgwNDk3XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR80,0,500,281_.jpg)
Jamie Stuart’s cat Sk, who accompanied him through a chunk of adulthood spanning New York to LA, passed away recently. Stuart’s new short, The Love Battery is an account of that passing, a tribute as well as introduction to his next pet chapter. From Stuart’s program notes: Cats. Love and loss. I made this as a crew of one over the past two months. Initially, I’d planned it as a tribute to my recently deceased cat Sk — but then the story took a turn… This is Not a documentary. It is a dramatic reenactment — that includes real live […]
The post Watch: Jamie Stuart’s Tale of Cat Love and Loss, The Love Battery first appeared on Filmmaker Magazine.
The post Watch: Jamie Stuart’s Tale of Cat Love and Loss, The Love Battery first appeared on Filmmaker Magazine.
- 2/16/2022
- by Scott Macaulay
- Filmmaker Magazine - Blog
![Image](https://m.media-amazon.com/images/M/MV5BMjgxZWYxMTAtZTViOC00NDFjLTg5YzYtY2E3YTU2ODgwNDk3XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR80,0,500,281_.jpg)
Jamie Stuart’s cat Sk, who accompanied him through a chunk of adulthood spanning New York to LA, passed away recently. Stuart’s new short, The Love Battery is an account of that passing, a tribute as well as introduction to his next pet chapter. From Stuart’s program notes: Cats. Love and loss. I made this as a crew of one over the past two months. Initially, I’d planned it as a tribute to my recently deceased cat Sk — but then the story took a turn… This is Not a documentary. It is a dramatic reenactment — that includes real live […]
The post Watch: Jamie Stuart’s Tale of Cat Love and Loss, The Love Battery first appeared on Filmmaker Magazine.
The post Watch: Jamie Stuart’s Tale of Cat Love and Loss, The Love Battery first appeared on Filmmaker Magazine.
- 2/16/2022
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Filmmaker Jamie Stuart has contributed to this publication since the mid-aughts. When he told me he that after completing his NY-set one-man independent feature A Motion Selfie that he’d be moving to L.A., I asked if he’d want to contribute a final Gotham piece in the “Goodbye to All That” genre. Below, he writes about not just his move but the changing independent film culture in New York over the past decade-plus. — Sm The day before the move was literally the worst day of my entire life. Popping half tabs of Valium every five hours, I spent 7:00 Am […]...
- 11/13/2018
- by Jamie Stuart
- Filmmaker Magazine - Blog
Filmmaker Jamie Stuart has contributed to this publication since the mid-aughts. When he told me he that after completing his NY-set one-man independent feature A Motion Selfie that he’d be moving to L.A., I asked if he’d want to contribute a final Gotham piece in the “Goodbye to All That” genre. Below, he writes about not just his move but the changing independent film culture in New York over the past decade-plus. — Sm The day before the move was literally the worst day of my entire life. Popping half tabs of Valium every five hours, I spent 7:00 Am […]...
- 11/13/2018
- by Jamie Stuart
- Filmmaker Magazine-Director Interviews
Longtime Filmmaker contributor Jamie Stuart premieres his debut feature film, A Motion Selfie, direct to Vimeo tomorrow. To mark the occasion, he’s written this guest blog post about five of the short films he made for us over the years, using them to trace his progression as a filmmaker. 1) White Plastic Flower (2007) This short was really significant for me developmentally. Web video was still a relative novelty (YouTube had launched only a year before), so prior to this, most of my work maintained an offbeat comical vibe. For whatever reason, I went into this one without caring what […]...
- 6/12/2018
- by Jamie Stuart
- Filmmaker Magazine-Director Interviews
Longtime Filmmaker contributor Jamie Stuart premieres his debut feature film, A Motion Selfie, direct to Vimeo tomorrow. To mark the occasion, he’s written this guest blog post about five of the short films he made for us over the years, using them to trace his progression as a filmmaker. 1) White Plastic Flower (2007) This short was really significant for me developmentally. Web video was still a relative novelty (YouTube had launched only a year before), so prior to this, most of my work maintained an offbeat comical vibe. For whatever reason, I went into this one without caring what […]...
- 6/12/2018
- by Jamie Stuart
- Filmmaker Magazine - Blog
Filmmaker readers have long known the work of Jamie Stuart, whose inventive, deadpan dissections of film festival customs and rituals as well as elegantly lensed interviews graced our (web) pages for years. If you haven’t seen his byline around here much recently, there’s a good reason for that: he’s been making a feature. And now you can see some of it. A Motion Selfie is Stuart’s long-form debut, and he wrote, directed, starred, shot, scored, edited, color corrected…. well, you get the idea. Yes, A Motion Selfie is as Diy as you can get, with Stuart literally being his own […]...
- 9/25/2017
- by Scott Macaulay
- Filmmaker Magazine - Blog
With Josh Maczinski’s tribute to Jeff Cronenweth popping up around the interwebs, here’s a good time to post, alongside it, Jamie Stuart’s 2014 interview with the cinematographer. Maczinski’s supercut surveys favorite scenes from films like Gone Girl, The Social Network, Hitchcock and One-Hour Photo. Stuart’s interview gets deep into it regarding digital technology, lens choices and a lot more. Here is Cronenweth on Fincher’s use of digital tools: But it’s part of David’s tenacity in making sure that every image supports the story and nothing ever unsettles an audience member unintentionally. In other words, you see everything you’re supposed to […]...
- 3/29/2016
- by Scott Macaulay
- Filmmaker Magazine - Blog
Gone Girl marks d.p. Jeff Cronenweth’s fourth feature film collaboration with David Fincher, a stretch that began with Fight Club in 1999 and has continued through The Social Network and The Girl with the Dragon Tattoo. (He also worked 2nd and 3rd unit on Se7en and The Game.) It’s a partnership that has transitioned the pair to digital cinematography, with Cronenweth creating cool, precisely visualized environments for stories plumbing the complexities of life in our globalized, media-saturated information age. To speak with Cronenweth, we asked Jamie Stuart, whose short films have frequently appeared on this site, and who has interviewed […]...
- 10/27/2014
- by Jamie Stuart
- Filmmaker Magazine - Blog
Gone Girl marks d.p. Jeff Cronenweth’s fourth feature film collaboration with David Fincher, a stretch that began with Fight Club in 1999 and has continued through The Social Network and The Girl with the Dragon Tattoo. (He also worked 2nd and 3rd unit on Se7en and The Game.) It’s a partnership that has transitioned the pair to digital cinematography, with Cronenweth creating cool, precisely visualized environments for stories plumbing the complexities of life in our globalized, media-saturated information age. To speak with Cronenweth, we asked Jamie Stuart, whose short films have frequently appeared on this site, and who has interviewed […]...
- 10/27/2014
- by Jamie Stuart
- Filmmaker Magazine-Director Interviews
Earlier this week we ran Jamie Stuart’s short film Learning to Like It as part of his detailed review of the Blackmagic Production and Pocket cameras. Now we’re posting the short as a stand-alone film in its own right rather than as a technical exercise. Stuart’s behind and in front of the camera as a lonely guy hoping for reconciliation with his ex-girlfriend, but his attempts to get back to her lead to a cavalcade of street confrontations and complications in this zippy, wordless five-minute comedy.
- 9/5/2014
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
Earlier this week we ran Jamie Stuart’s short film Learning to Like It as part of his detailed review of the Blackmagic Production and Pocket cameras. Now we’re posting the short as a stand-alone film in its own right rather than as a technical exercise. Stuart’s behind and in front of the camera as a lonely guy hoping for reconciliation with his ex-girlfriend, but his attempts to get back to her lead to a cavalcade of street confrontations and complications in this zippy, wordless five-minute comedy.
- 9/5/2014
- by Vadim Rizov
- Filmmaker Magazine - Blog
![Tom Cruise in Collateral (2004)](https://m.media-amazon.com/images/M/MV5BMjE3NjM5OTMxMV5BMl5BanBnXkFtZTcwOTIzMTQyMw@@._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Tom Cruise in Collateral (2004)](https://m.media-amazon.com/images/M/MV5BMjE3NjM5OTMxMV5BMl5BanBnXkFtZTcwOTIzMTQyMw@@._V1_QL75_UX140_CR0,0,140,207_.jpg)
If you're interested in an anniversary conversation that really has some bearing on today's film industry, I highly recommend American Cinematographer's recent chat with "Collateral" Dp Dion Beebe. It's been nearly a decade (if you can believe it) since Beebe and Paul Cameron carved out a serious place for digital with that film, earning an American Society of Cinematographers (Asc) nomination in the process. It got me thinking about the history of the industry's acceptance of digital as reflected in the nominations handed out by both the Asc and Academy's cinematography branch over the last 10 years. Academy members were a bit slower on the uptake, as you might recall. Beebe and Cameron were snubbed by the branch despite the Asc nomination. Of course, that was still a dicey time for the technology. The first feature films shot digitally were Lars Von Trier's "The Idiots" and Thomas Vinterberg's "The Celebration,...
- 7/3/2014
- by Kristopher Tapley
- Hitfix
Last fall Jamie Stuart was conducting interviews for his NYFF51. He ran into the publicist handling Jim Jarmusch’s Only Lovers Left Alive and asked if he could get a sit down with Tilda Swinton. The answer: yes, but time was tight. The result is the following short interview in which Stuart asked Swinton to just… well, you’ll see. At the end, she did indeed say it was her best interview ever. Cage by way of Glazer? Only Lovers Left Alive opens this Friday from Sony Pictures Classics. Camera: Blackmagic Design Cinema Camera, 2.5k Raw, ProRes 422 post conversion Lens: Canon […]...
- 4/7/2014
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Last fall Jamie Stuart was conducting interviews for his NYFF51. He ran into the publicist handling Jim Jarmusch’s Only Lovers Left Alive and asked if he could get a sit down with Tilda Swinton. The answer: yes, but time was tight. The result is the following short interview in which Stuart asked Swinton to just… well, you’ll see. At the end, she did indeed say it was her best interview ever. Cage by way of Glazer? Only Lovers Left Alive opens this Friday from Sony Pictures Classics. Camera: Blackmagic Design Cinema Camera, 2.5k Raw, ProRes 422 post conversion Lens: Canon […]...
- 4/7/2014
- by Scott Macaulay
- Filmmaker Magazine - Blog
![Emmanuel Lubezki](https://m.media-amazon.com/images/M/MV5BNTgzMTI2OTgxN15BMl5BanBnXkFtZTcwMDUxOTU5Ng@@._V1_QL75_UX140_CR0,10,140,207_.jpg)
![Emmanuel Lubezki](https://m.media-amazon.com/images/M/MV5BNTgzMTI2OTgxN15BMl5BanBnXkFtZTcwMDUxOTU5Ng@@._V1_QL75_UX140_CR0,10,140,207_.jpg)
With Emmanuel Lubezki almost certain to take the Best Cinematography Oscar for "Gravity," few will argue that he's well past due the award -- but many will take issue with the technical implications of such FX-integrated work being recognized in such a fashion. It's an issue that now surfaces on a near-annual basis (wins for "Avatar" and "Life of Pi," in particular, caused a stir), and filmmaker Jamie Stuart thinks it's time "to redefine what constitutes cinematography." Part of that movement, he says, should be to divide the Oscar into two awards: "one for conventional live-action cinematography, and another for CGI-based...
- 12/31/2013
- by Guy Lodge
- Hitfix
![Being John Malkovich (1999)](https://m.media-amazon.com/images/M/MV5BMTFlYjgyMjUtNmJhZS00MDY2LTg0ZmMtNTVlNDA2NTUwYTRjXkEyXkFqcGdeQXVyMTUzMDUzNTI3._V1_QL75_UX140_CR0,0,140,207_.jpg)
![Being John Malkovich (1999)](https://m.media-amazon.com/images/M/MV5BMTFlYjgyMjUtNmJhZS00MDY2LTg0ZmMtNTVlNDA2NTUwYTRjXkEyXkFqcGdeQXVyMTUzMDUzNTI3._V1_QL75_UX140_CR0,0,140,207_.jpg)
1. Movies Expiring from Netflix: It's almost 2014, which means you only have a couple of days to watch countless movies which will be expiring from Netflix on January 1st. Although Netflix doesn't make this list available, users have compiled their own lists of TV shows and movies and posted them to Reddit. "Being John Malkovich," "Foxy Brown," "Requiem for a Dream," "Capote" and "Do The Right Thing" are among the titles that will be soon disappearing. You don't need a better excuse to skip the New Year's festivities and binge watch! 2. Top Indies in iTunes: "The Way, Way Back" and "The Spectacular Now" continue to dominate the list of top indies in the iTunes Movies store, along with other continually strong titles "Drinking Buddies" and "Blackfish." See the full list here. 3. 'Digital' Cinematography: Filmmaker Jamie Stuart makes a compelling case as to why the Academy should create two cinematography awards --...
- 12/30/2013
- by Paula Bernstein
- Indiewire
Jamie Stuart was back at the New York Film Festival this year, getting up to his usual antics, except this time with a hot new camera, the Blackmagic Design Cinema Camera. (You can read his review of the camera here.) Look out for appearances by a host of film luminaries who graced Nyff this year — Alexander Payne, Spike Jonze, Tom Hanks, the Coen brothers, John Goodman, Tilda Swinton and Rooney Mara — plus cameos from Glenn Kenny and, um, me.
- 10/24/2013
- by Nick Dawson
- Filmmaker Magazine-Director Interviews
Jamie Stuart was back at the New York Film Festival this year, getting up to his usual antics, except this time with a hot new camera, the Blackmagic Design Cinema Camera. (You can read his review of the camera here.) Look out for appearances by a host of film luminaries who graced Nyff this year — Alexander Payne, Spike Jonze, Tom Hanks, the Coen brothers, John Goodman, Tilda Swinton and Rooney Mara — plus cameos from Glenn Kenny and, um, me.
- 10/24/2013
- by Nick Dawson
- Filmmaker Magazine - Blog
Jamie Stuart has been Filmmaker‘s videographer for years, but became known to a broader audience in late 2010 when he captured snowbound New York in his short film Idiot with a Tripod. In the wake of Hurricane Sandy, Stuart was out again filming the impact of extreme weather on the city, and has now released the short film Eternal Storm, to which he adds the following notes: I don’t know if it’s right to create art out of this experience, yet. I don’t know what the time limit is. But I have created something that I hope people can appreciate. And art always …...
- 11/14/2012
- by Nick Dawson
- Filmmaker Magazine-Director Interviews
Jamie Stuart has been Filmmaker‘s videographer for years, but became known to a broader audience in late 2010 when he captured snowbound New York in his short film Idiot with a Tripod.
In the wake of Hurricane Sandy, Stuart was out again filming the impact of extreme weather on the city, and has now released the short film Eternal Storm, to which he adds the following notes:
I don’t know if it’s right to create art out of this experience, yet. I don’t know what the time limit is. But I have created something that I hope people can appreciate. And art always helps.
“Eternal Storm” was shot on location in Far Rockaway, Staten Island, Coney Island and Astoria about a week after Hurricane Sandy hit. The intent was simply to create something beautiful out of something disastrous.
Incidentally, Jamie is also currently trying to raise funds for his debut feature,...
In the wake of Hurricane Sandy, Stuart was out again filming the impact of extreme weather on the city, and has now released the short film Eternal Storm, to which he adds the following notes:
I don’t know if it’s right to create art out of this experience, yet. I don’t know what the time limit is. But I have created something that I hope people can appreciate. And art always helps.
“Eternal Storm” was shot on location in Far Rockaway, Staten Island, Coney Island and Astoria about a week after Hurricane Sandy hit. The intent was simply to create something beautiful out of something disastrous.
Incidentally, Jamie is also currently trying to raise funds for his debut feature,...
- 11/14/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
Jamie Stuart, well known to Filmmaker readers for all the videos he’s shot for the site over the years, was commissioned to shoot the intros and promos for the New York City Made in New York Awards, held at Gracie Mansion last night. Here’s his intro spot featuring all the recipients, including Robert De Niro and Meryl Streep.
… Read the rest...
… Read the rest...
- 6/5/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
With her debut documentary, Beetle Queen Conquers Tokyo, Jessica Oreck reinvented the nature doc. Oreck, an entomologist who worked as a docent at the American Museum of Natural History, made a film about an insect that was as much about man’s fascination with that creature as it was the creature itself. To top it off, she made her poetic and allusive picture in Japan, exploring the country’s endemic beetle-mania through evocative cinematography and haunting voiceover.
When so many documentary filmmakers make their artistic choices based on the desires of their funders, Oreck chooses the harder path. Her latest film, Aatsinki, promises to be just as innovative even as it focuses on the more human subject of arctic cowboys. Oreck is in the final days of a Kickstarter campaign to fund post-production. Below, she discusses her new film, shooting in the extreme cold, and why she’s back at...
When so many documentary filmmakers make their artistic choices based on the desires of their funders, Oreck chooses the harder path. Her latest film, Aatsinki, promises to be just as innovative even as it focuses on the more human subject of arctic cowboys. Oreck is in the final days of a Kickstarter campaign to fund post-production. Below, she discusses her new film, shooting in the extreme cold, and why she’s back at...
- 5/1/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
A red letter day. There's a new Senses of Cinema out and it opens with the first part of Daniel Fairfax's interview with Jean-Louis Comolli, who edited Cahiers du cinéma from 1965 to 1973. Senses editor Rolando Caputo: "At the time, Cahiers was undergoing its so-called 'Marxist-Leninist' phase, with a heavy overlay of Lacanian psychoanalytic theory." And Slavoj Žižek would have been in his late teens, early 20s. At any rate: "Put simply, at stake was the demystification of the 'cinematic apparatus' to demonstrate how ideology was both embedded within the technology of cinema and an effect of its representational modes."
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
- 3/20/2012
- MUBI
For Jamie Stuart, Sundance 2012 was a schizophrenic affair. Find out why in this video he made while covering the festival for Cinelan’s Focus Forward initiative. Appearances by Filmmaker‘s founding publisher, Karol Martesko-Fenster, Filmmaker correspondent, d.p. and director David Leitner, Morgan Spurlock, Jessica Yu, Frank Langella and more.
Sequelized from Focus Forward Films on Vimeo.… Read the rest...
Sequelized from Focus Forward Films on Vimeo.… Read the rest...
- 3/20/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Jamie Stuart, familiar to Filmmaker readers for his various short-form work for this site over the years (and familiar to many more for his Idiot with a Tripod short last year), got his hands on a Canon Eos-C300 recently. To test it out he made a short film, Both Ends, starring Lauren Currie Lewis as a chameleon-like party girl having the worst day of her life. The film was shot in one long 16-hour day in locations spanning three boroughs. The primary lenses used were Canon’s 16-35mm f/2.8 and 24-70mm f/2.8. It was edited on Premiere Pro CS5. Grading was done with Magic Bullet Colorista II. Compositing mixed Motion, After Effects and Mocha. It was produced by Laki Latinka Igrutinovic. Jamie recommends minimizing screen glare while watching.
Check out Both Ends below, and then read Stuart’s thoughts on the shoot and the camera — particularly on its low-light capabilities,...
Check out Both Ends below, and then read Stuart’s thoughts on the shoot and the camera — particularly on its low-light capabilities,...
- 3/19/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Sundance seems a little incomplete for me without Jamie Stuart, who is shooting this year for Cinelan and Ge’s new Focus Forward initiative. Led by Cinelan co-founders Morgan Spurlock and Karol Martesko-Fenster (Filmmaker‘s founding publsiher), the program brings 30 new three-minute short films to festivals internationally.
So, to get my Stuart Sundance fix I’ll post this piece he shot for the organization, which is premiering its first five films here at the festival. Jamie may be lensing for this new short-form doc producer, but I wouldn’t be surprised if a photo gallery of snow-capped peaks, shuttle busses lumbering down Park, and silhouetted ski lifts appears in my in box this week. If so, look for it here.
Focus Forward – Short Films, Big Ideas Trailer from Focus Forward Films on Vimeo.
And here’s the press release about Cinelan and these films.
Cinelan and Vimeo announced today the...
So, to get my Stuart Sundance fix I’ll post this piece he shot for the organization, which is premiering its first five films here at the festival. Jamie may be lensing for this new short-form doc producer, but I wouldn’t be surprised if a photo gallery of snow-capped peaks, shuttle busses lumbering down Park, and silhouetted ski lifts appears in my in box this week. If so, look for it here.
Focus Forward – Short Films, Big Ideas Trailer from Focus Forward Films on Vimeo.
And here’s the press release about Cinelan and these films.
Cinelan and Vimeo announced today the...
- 1/21/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Just before its Sundance premiere, the team behind Pariah — writer/director Dee Rees, producer Nekisa Cooper, and actresses Adepero Oduye and Kim Wayans — sat down with Jamie Stuart and me to discuss their film’s path to the big screen. Check it out, and make sure to see the film itself, which opened yesterday in limited release from Focus Features. (Note: video contains one mild spoiler.)
… Read the rest...
… Read the rest...
- 1/1/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Scott Weinberg has tallied the votes from 20 Movies.com contributors and come up with a top 20. #1: Nicolas Winding Refn's Drive.
"Refn's pulp fantasia — with the iconic Ryan Gosling sporting a cheesy scorpion jacket, a toothpick and a lack of dialogue unrivaled since Clint Eastwood's spaghetti westerns — reminded me just how much I love movies," writes Sean Burns. "Refn's boldly artificial flourishes, graphic violence and swoony romanticism conjured an alternate universe I adored basking in, over and over. Throw in Albert Brooks as the villain, and I don't want to admit how many times I went back to see it again."
Also in the Philadelphia Weekly, Matt Prigge, whose #2 is Kenneth Lonergan's Margaret, on his #1, House of Tolerance: "Like Margaret, Bertrand Bonello's dreamy look at a tony, turn-of-the-century Parisian brothel was initially hated, with some at Cannes calling it the fest's worst. It fared better at Toronto,...
"Refn's pulp fantasia — with the iconic Ryan Gosling sporting a cheesy scorpion jacket, a toothpick and a lack of dialogue unrivaled since Clint Eastwood's spaghetti westerns — reminded me just how much I love movies," writes Sean Burns. "Refn's boldly artificial flourishes, graphic violence and swoony romanticism conjured an alternate universe I adored basking in, over and over. Throw in Albert Brooks as the villain, and I don't want to admit how many times I went back to see it again."
Also in the Philadelphia Weekly, Matt Prigge, whose #2 is Kenneth Lonergan's Margaret, on his #1, House of Tolerance: "Like Margaret, Bertrand Bonello's dreamy look at a tony, turn-of-the-century Parisian brothel was initially hated, with some at Cannes calling it the fest's worst. It fared better at Toronto,...
- 12/29/2011
- MUBI
Congrats to Filmmaker contributor Jamie Stuart, whose short film, “Idiot with a Tripod,” appears on Time Magazine’s end-of-2011 “Best of Everything” — #3 in the list of “Top Ten Creative Videos.” Wrote Time’s Craig Duff:
Many New Yorkers who were away for the holidays last year (like me) watched the weather reports the day after Christmas and wondered if the blizzard bearing down on the city would strand us in other states (it did). As the snow began to fall that day outside his Queens apartment, Jamie Stuart thought of legendary filmmaker Dziga Vertov. He grabbed a video-capable Dlsr camera and started to shoot, spending an hour or so at intervals as the storm slowly shut the city down. Idiot with a Tripod is an homage to Vertov’s masterpiece Man with a Movie Camera, artfully capturing the details of a blizzard just as Vertov documented Soviet life in 1929. Edited within a day’s time,...
Many New Yorkers who were away for the holidays last year (like me) watched the weather reports the day after Christmas and wondered if the blizzard bearing down on the city would strand us in other states (it did). As the snow began to fall that day outside his Queens apartment, Jamie Stuart thought of legendary filmmaker Dziga Vertov. He grabbed a video-capable Dlsr camera and started to shoot, spending an hour or so at intervals as the storm slowly shut the city down. Idiot with a Tripod is an homage to Vertov’s masterpiece Man with a Movie Camera, artfully capturing the details of a blizzard just as Vertov documented Soviet life in 1929. Edited within a day’s time,...
- 12/8/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
When Paddy Considine brought Tyrannosaur to New York for New Directors/New Films in March (reviews), Graham Fuller met up with him to interview him for Film Comment, noting that, as an actor, "Considine, 37, has blessed a range of downbeat British films with his lugubrious, sometimes volatile presence, among them his friend Shane Meadows's A Room for Romeo Brass (99) and Dead Man's Shoes (04), Pavel Pawlikowski's Last Resort (00) and My Summer of Love (04), Michael Winterbottom's 24 Hour Party People (02), Stoned (05), and Red Riding: 1980 (09). He has also made the odd foray into Hollywood for Cinderella Man (05) and The Bourne Ultimatum (07). As a writer-director, Considine cranks up the volatility with his outstanding feature debut, Tyrannosaur, which he took a dry run at with his 2007 short, Dog Altogether."
The film "opens with Joseph (Peter Mullan) taking out his rage and self-loathing on the last thing he loves, his dog, kicking the animal to death,...
The film "opens with Joseph (Peter Mullan) taking out his rage and self-loathing on the last thing he loves, his dog, kicking the animal to death,...
- 11/18/2011
- MUBI
When Jamie Stuart and I shot this video at Sundance this year, our jaws dropped at Peter Mullan spun out an incredibly eloquent, sustained one-take summation of Paddy Considine’s Tyrannosaur. He’s a great actor, of course, but still we were stunned at how it all just flowed. Here is that video, with Mullan and writer/director Paddy Considine talking about making a movie based on a short, dark characters, and where it all comes from. The film opens tomorrow from Strand Releasing.
- 11/16/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Originally posted on July 6, 2011. Terri is nominated for Breakthrough Actor.
Azazel Jacobs’ idiosyncratic and homespun Terri is caring riff on the alienated teenager film, making its plus-size hero a stand-in for the trepidations we all fear when our slow-motion lives begin to move just a little too fast. Here, in this video shot at Sundance 2011, Jacobs discusses how he moved from his previous feature, Momma’s Man, to Terri, and why he’s not like Alfred Hitchcock.
Photographed by: Jamie Stuart. Edited by: Daniel James Scott. Music: T. Griffin.
For more, read Nick Dawson’s longer interview with Azazel Jacobs about Terri here.
Azazel Jacobs’ idiosyncratic and homespun Terri is caring riff on the alienated teenager film, making its plus-size hero a stand-in for the trepidations we all fear when our slow-motion lives begin to move just a little too fast. Here, in this video shot at Sundance 2011, Jacobs discusses how he moved from his previous feature, Momma’s Man, to Terri, and why he’s not like Alfred Hitchcock.
Photographed by: Jamie Stuart. Edited by: Daniel James Scott. Music: T. Griffin.
For more, read Nick Dawson’s longer interview with Azazel Jacobs about Terri here.
- 11/3/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
In the below video: Martha Marcy May Marlene writer/director Sean Durkin on Altman, Polanski and why he’s fascinated by cults; Elizabeth Olsen on her character, scripts, and what attracted her to this part; and John Hawkes on why his cult leader wasn’t another dark creepy dude. Photographed by Jamie Stuart, edited by Daniel James Scott and with music by T. Griffin. Shot at Sundance 2011.
- 10/24/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for Filmmaker’s 25 New Faces.
Today I’m posting the last spot, featuring Eleanor Burke and Ron Eyal. Their feature Stranger Things has won multiple awards, including Best Narrative Feature at...
Today I’m posting the last spot, featuring Eleanor Burke and Ron Eyal. Their feature Stranger Things has won multiple awards, including Best Narrative Feature at...
- 10/18/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for Filmmaker’s 25 New Faces.
Today I’m posting Koo and Zack Lieberman’s spot. Koo runs the site No Film School and busted Kickstarter records for his new feature, Man-Child.
Today I’m posting Koo and Zack Lieberman’s spot. Koo runs the site No Film School and busted Kickstarter records for his new feature, Man-Child.
- 10/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for...
- 10/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for Filmmaker’s 25 New Faces.
Today I’m posting Dee Rees, whose Pariah opens from Focus Features in December. She’s also featured in the upcoming Filmmaker in an interview with Brandon Harris.
Today I’m posting Dee Rees, whose Pariah opens from Focus Features in December. She’s also featured in the upcoming Filmmaker in an interview with Brandon Harris.
- 10/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for Filmmaker’s 25 New Faces.
Today I’m posting Alrick Brown, whose Kinyarwanda won the Audience Award in Sundance’s World Cinema Competition this year and is forthcoming in theaters this fall from the Affrm.
Today I’m posting Alrick Brown, whose Kinyarwanda won the Audience Award in Sundance’s World Cinema Competition this year and is forthcoming in theaters this fall from the Affrm.
- 10/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
If you’ve taken a ride in the back of a New York City taxi cab these last two weeks, you may have heard the stories of seven of New York’s most distinctive independent filmmakers of the moment. In partnership with Royal Bank of Canada and the Mayor’s Office of Media and Entertainment, the Ifp has produced six spots that are playing not only in cabs but on NYC Life. Jamie Stuart directed, T. Griffin scored and I produced these pieces, and each one, in addition to profiling a person, highlights a different aspect of the independent filmmaker’s current creative, production or marketing brief. All the filmmakers were veterans of the Ifp Labs and also selected for Filmmaker’s 25 New Faces.
This week I’ll post them all on the blog, starting with Jessica Oreck, director of Beetle Queen Conquers Tokyo.
This week I’ll post them all on the blog, starting with Jessica Oreck, director of Beetle Queen Conquers Tokyo.
- 10/9/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Yes, as Dan Schoenbrun notes below, there was a lot of paella at the Copacabana club last night for Independent Film Week’s closing party.
Here are a few of the photo’s I snapped during the week.
Pariah producer Nekisa Cooper (left) attended Independent Film Week with a No Borders project, Five Nights in Maine. It’s the debut feature of Bay area producer Maris Curran (right). Here they are at one of the evening cocktail parties at the Elinor Bunin Munroe Film Center.
Zach Lieberman (left) and Koo (right) were two of our “25 New Faces,” selected after they premiered the incredible urban hip-hop Western web series, The West Side. Jamie Stuart and I made a video with them that’s playing right now in New York taxi cabs, and both have new feature projects. Here they are outside the Film Center before my Sunday panel.
Danielle Lurie is...
Here are a few of the photo’s I snapped during the week.
Pariah producer Nekisa Cooper (left) attended Independent Film Week with a No Borders project, Five Nights in Maine. It’s the debut feature of Bay area producer Maris Curran (right). Here they are at one of the evening cocktail parties at the Elinor Bunin Munroe Film Center.
Zach Lieberman (left) and Koo (right) were two of our “25 New Faces,” selected after they premiered the incredible urban hip-hop Western web series, The West Side. Jamie Stuart and I made a video with them that’s playing right now in New York taxi cabs, and both have new feature projects. Here they are outside the Film Center before my Sunday panel.
Danielle Lurie is...
- 9/24/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Photo by Tommy Lau
Sad news this morning from the San Francisco Film Society. Graham Leggat, who stepped down as Sffs executive director just last month, died yesterday after an 18-month battle with cancer. He was 51.
Announcing his resignation in July, the Sffs noted: "During the period of Leggat's leadership, the Film Society has grown from the producer of the annual 15-day San Francisco International Film Festival into a year-round cultural institution celebrating film culture in all its forms, with its staff and annual operating budget each increasing threefold from 2005 to 2011." In a farewell message, Leggat wrote, "The recent announcement of the September launch of the San Francisco Film Society | New People Cinema marks a huge milestone in our 54-year history: for the first time we have a year-round home in which to present an increasingly diverse and vital range of programs. With this crucial addition, the Film Society rightfully...
Sad news this morning from the San Francisco Film Society. Graham Leggat, who stepped down as Sffs executive director just last month, died yesterday after an 18-month battle with cancer. He was 51.
Announcing his resignation in July, the Sffs noted: "During the period of Leggat's leadership, the Film Society has grown from the producer of the annual 15-day San Francisco International Film Festival into a year-round cultural institution celebrating film culture in all its forms, with its staff and annual operating budget each increasing threefold from 2005 to 2011." In a farewell message, Leggat wrote, "The recent announcement of the September launch of the San Francisco Film Society | New People Cinema marks a huge milestone in our 54-year history: for the first time we have a year-round home in which to present an increasingly diverse and vital range of programs. With this crucial addition, the Film Society rightfully...
- 8/27/2011
- MUBI
Opening today is Beats, Rhymes and Life: The Travels of a Tribe Called Quest. Actor and longtime fan Michael Rapaport stepped behind the camera to both introduce a new audience to the seminal hip hop group but also to answer an aficionado’s longtime questions. Here’s a short interview filmed at Sundance, 2011. Photographed by Jamie Stuart, edited by Daniel James Scott, music by T. Griffin.
- 7/8/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Filmmaker‘s Jamie Stuart has moved uptown where he’s documented the Film Society of Lincoln Center’s build of their new Elinor Bunin theaters. He’s made four new pieces, characteristically backlit, and in black-and-white, and they have premiered at Vanity Fair, which also runs an interview with him. Below is his sit-down with Executive Director Rose Kuo, and a video in which he geeks out on all the new gear. And here, from the interview, is his take on the filmmakers of the future:
Traditionally, the director’s job is to oversee things, and make decisions while you have a cameraman who shoots it, an editor who edits. Now, you have all these people coming up who do everything themselves. I think over the next 20 years or so, you’re going to be seeing a lot more auteurs because the more you can do yourself, the less money you need.
Traditionally, the director’s job is to oversee things, and make decisions while you have a cameraman who shoots it, an editor who edits. Now, you have all these people coming up who do everything themselves. I think over the next 20 years or so, you’re going to be seeing a lot more auteurs because the more you can do yourself, the less money you need.
- 5/20/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
While most New Yorkers were getting ready to dig themselves out of the blizzard of 2010, filmmaker Jamie Stuart was already outside with a Canon 7D camera frozen to his hands, filming his Dziga Vertov–inspired short, Idiot with a Tripod. After he posted it, critic Roger Ebert linked to it, pretty much demanding the Academy give Jamie the Oscar for best short film. That Oscar has yet to materialize—but since the video went viral, Stuart has been in high demand. When Lincoln Center needed someone to document the renovation and construction of its new Elinor Bunin Munroe Film Center—with two new theaters, a lounge café, and a sleek, 152-inch screen—they turned to the filmmaker. He turned out several striking videos, which Vf.com is showing you for the first time. Stuart also discussed with us how D.I.Y. filmmakers, liberated from such worldly concerns as budgets and lunch,...
- 5/19/2011
- Vanity Fair
Less than one year after Sean Durkin’s short, Mary Last Seen, premiered at the Cannes Film Festival comes this new trailer for the feature that resulted from it. (Click on the headline if you don’t see the video.)
Durkin was one of our “25 New Faces” of 2010, and now his feature, which premiered at Sundance, has its international premiere at Cannes in the Un Certain Regard section. From Jason Guerrasio’s interview with Durkin:
I made Mary Last Seen to have something to send out with the feature script,” Durkin admits. But after taking a second pass at the edit he decided to submit it to Sundance, which accepted the film. It went on to play the 2010 Cannes Directors’ Fortnight, where it won the section’s short film prize. Festivalgoers have raved about the short’s creepy ambiguity and beautiful camerawork, which includes a gorgeous shot of Mary and...
Durkin was one of our “25 New Faces” of 2010, and now his feature, which premiered at Sundance, has its international premiere at Cannes in the Un Certain Regard section. From Jason Guerrasio’s interview with Durkin:
I made Mary Last Seen to have something to send out with the feature script,” Durkin admits. But after taking a second pass at the edit he decided to submit it to Sundance, which accepted the film. It went on to play the 2010 Cannes Directors’ Fortnight, where it won the section’s short film prize. Festivalgoers have raved about the short’s creepy ambiguity and beautiful camerawork, which includes a gorgeous shot of Mary and...
- 5/6/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
"Sidney Lumet, a director who preferred the streets of New York to the back lots of Hollywood and whose stories of conscience — 12 Angry Men, Serpico, Dog Day Afternoon, The Verdict, Network — became modern American film classics, died Saturday morning at his home in Manhattan. He was 86." Robert Berkvist in the New York Times: "'While the goal of all movies is to entertain,' Mr Lumet once wrote, 'the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing.' Social issues set his own mental juices flowing, and his best films not only probed the consequences of prejudice, corruption and betrayal but also celebrated individual acts of courage."
"Nearly all the characters in Lumet's gallery are driven by obsessions or passions that range from the pursuit of justice,...
"Nearly all the characters in Lumet's gallery are driven by obsessions or passions that range from the pursuit of justice,...
- 4/18/2011
- MUBI
Short films can often be gateways to feature films, experiments in storytelling, or stand alone works of art. After film school I still made one short film every year, but for me they were ways to try out ideas before committing to something feature sized. For some folks they are end goals that are beautifully done and well thought out. Sometimes however, we get short films that are too long, or ideas that exist between short format and feature length. Plus, with the introduction of Youtube and Vimeo we also seem to have an over abundance of “short films” that are clips of pretty flowers, landscapes, lakes, and sunsets set to music to show off someone’s new camera. They need to stop. (The one exception is Jamie Stuart’s film Idiot with a Tripod. It’s an example of how these kinds of films should be made…he knocks it out of the park.
- 3/22/2011
- by John Yost
- Filmmaker Magazine - Blog
As Filmmaker readers know from our Jamie Stuart festival coverage, we prefer cinematic approaches to fest reportage over point-and-shoot talking heads. (Although expect none of the former and more of the latter from me at SXSW this week.) Jamie has his very distinct style, and via Nowness, it’s nice to see another set of filmmakers doing something different with festival coverage. From the site:
For today’s exclusive story, Nowness contributors and filmmaking partners Carlo Lavagna and Roberto de Paolis set out to chronicle the 61st annual Berlin International Film Festival—and came away with a highly imaginative tribute to the host city itself. Lavagna’s girlfriend, aspiring filmmaker Claude Gerber, joins the intrepid duo as they hop from Berlin’s infamous nightclubs to Treptower Park’s abandoned funfair, encountering famous friends along the way: filmmaker Miranda July, in town to promote her second feature, The Future, and the movie’s lead actor,...
For today’s exclusive story, Nowness contributors and filmmaking partners Carlo Lavagna and Roberto de Paolis set out to chronicle the 61st annual Berlin International Film Festival—and came away with a highly imaginative tribute to the host city itself. Lavagna’s girlfriend, aspiring filmmaker Claude Gerber, joins the intrepid duo as they hop from Berlin’s infamous nightclubs to Treptower Park’s abandoned funfair, encountering famous friends along the way: filmmaker Miranda July, in town to promote her second feature, The Future, and the movie’s lead actor,...
- 3/10/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
...Or we should say "Cheat Sheets" since this year's SXSW Film Festival boasts over 140 films, requiring more than just one page to cover every single one of the narrative and documentary features that will be playing in Austin from March 11th through 19th. While the festival has already provided a very helpful schedule to flip through and Pdf of the screening grid online, consider this your quick hit guide to all the features at the festival - every title leads to its corresponding festival page in addition to links to trailers, official sites, filmmakers' Facebook pages and Twitter accounts so you can follow the action from the festival or from home.
Meanwhile, there will be plenty of action during these next two weeks on IFC.com where, in addition to our live video page, Matt Singer (@mattsinger) and I (@mfrushmore) will be filing reviews and interviews throughout the film festival.
Meanwhile, there will be plenty of action during these next two weeks on IFC.com where, in addition to our live video page, Matt Singer (@mattsinger) and I (@mfrushmore) will be filing reviews and interviews throughout the film festival.
- 3/9/2011
- by Stephen Saito
- ifc.com
imdb.1eye.us, 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.