DP/30 Archive for July, 2011

DP/30: The Interrupters, director/producer Steve James & producer Alex Kotlowitz

The award-winning director of Hoops Dreams and the author of There Are No Children Here join forces and return to Chicago’s south side to deliver one of the year’s most powerful documentaries. The idea is simple. When trouble is brewing, interrupt the rage until people cool down and hopefully make better choices. But the strength to help others find moderation often requires heroic measures from people who you might not expect it from. The filmmakers offer a look at the process of creating this extraordinary film.

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DP/30: Friends With Benefits, director Will Gluck

Will Gluck is the latest hot comedy director in town with Easy A breaking out last summer, Friends With Benefits this year, and a wide array of projects in development at Sony (including a remake of About Last Night). He talks about his latest film, his working process with his stars, the projects to come, and a certain Captain in this DP/30, shot on the day of the FWB opening.

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DP/30: TABLOID, director Errol Morris

The legendary documentarian takes on the tabloid tale of Joyce McKinney & The Manacled Mormon… just in time for News Of The World to remind us how tabloid a tabloid can be.

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DP/30: Another Earth, director/co-writer Mike Cahill, actor/co-writer Brit Marling

Sundance’s “It Girl” of 2011, Brit Marling, has seen both of her profoundly indie films picked up by Fox Searchlight. The first, a collaboration with Mike Cahill, is coming to theaters later this month. Meet the duo and hear about their unique working relationship.

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DP/30

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch