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Submitted By: Laurence Thrush Comment Of
Submitted by: Laurence Thrush Comment of:! Film Independent, Chicago Filmmakers, Kindling Group, Kirby Dick, Jeffrey Kusama-Hinte, J S Mayank, David Novack, Laurence Thrush IN RE: Docket No. RM 2011-07 RESPONSE TO PROPOSED CLASS 7D We, the undersigned organizations and individuals, write in support of the Comment of International Documentary Association, Kartemquin Educational Films, Inc., National Alliance for Media, Arts, and Culture, and Independent Film Project, petitioning for an exemption to the DMCA’s anti-circumvention measures for DVD, Blu-Ray, and digitally transmitted video for the purpose of documentary and fictional filmmaking (“Proposed Class 7D”).1 The undersigned organizations work to support and defend filmmakers nationwide through educational outreach, financial support, and advocacy. Through seminars, written resources, workshops, festivals, grants, and other means, we support filmmakers at every stage of the filmmaking process. The undersigned individuals are award-winning filmmakers with decades of experience who have spent their careers contributing to American culture and journalism through film and who deeply understand the increasing value of filmmaking to our civic discourse, educational system, and American society as a whole. As filmmakers and filmmaker organizations, we know that the doctrine of fair use is integral to the filmmaking process. Without it we could not tell our stories, comment on society and culture, or illustrate our themes and arguments effectively. We write in support of Proposed Class 7D because we are concerned that the DMCA is prohibiting access to source material we depend on in order to make fair use. The Librarian of Congress must renew the 2010 exemption for DVDs for documentary filmmaking in order to prevent substantial harm to our ability to make fair use. -
SHOOT Magazine March/April 2019 Issue
March/April 2019 March/April Chat Room 4 The Road To Emmy Preview Hot Locations 10 4 Spring 2019 DIR Adam McKay Lauren Greenfield Chat Room 18 ECT online.com Series SHOOT ORS Matthew Heineman 8 Ramaa Mosley www. Up-and-Coming Directors 19 Floyd Russ Ridley Scott Spike Jonze Cinematographers & Cameras 22 Top Ten VFX & Animation Chart 26 Top Ten Music Tracks Chart 28 TO GET CONNECTED THE FURTHEST REACHES OF YOUR IMAGINATION ARE CLOSER THAN YOU THINK. With versatile landscapes, experienced film crews and incentivized tax breaks, the only limit to filming in the U.S. Virgin Islands is your imagination. Enjoy up to a 29% tax rebate and up to a 17% transferable tax credit when you film in the USVI. For more opportunities in St.Croix, St. John and St. Thomas, call 340.774.8784 ext. 2243. filmusvi.com DOWNLOAD THE FILM USVI APP: © 2019 U.S. Virgin Islands Department of Tourism USVI19037_9x10.875_SHOOT.indd 1 3/22/19 4:09 PM AGENCY: JWT/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: March/April, 2019 AD#: USVI19037 BLEED: 9.25” x 11.125” HEAD: “The Furthest Reaches of LIVE: 8.5” x 10.375” your Imagination...” Perspectives The Leading Publication For Film, TV & Commercial Production and Post March/April 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 2 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Serious Comedy Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich Our Up-and-Coming known for its humorous chops, and hope- her feature film, Late Night. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
Roman Polanski
[ VISIONI 154 ] Roma 26 febbraio 2019 Blog . https://incontridicinema.wordpress.com m@il [email protected] “Il coltello nell’acqua” Triangolo in alto mare Titolo originale: Nóz w Wodzie Regia: Roman Polanski Soggetto: Roman Polanski, Jakub Goldberg Sceneggiatura: Roman Polanski, Jerzy Skolimowski, Jakub Goldberg Fotografia: Jerzy Lipman Scenografia: Boleslaw Kamykowski Montaggio: Halina Prugar-Ketling Costumi: Interpreti e Personaggi: Leon Niemczyk (Andrea), Jolanta Umecka (Cristina), Zygmunt Malanowicz (ragazzo) Musiche: Krysztof Komeda Origine: Polonia Anno: 1962 Durata: 94 minuti 1 Sinossi Intenzionati a passare il fine settimana sulla loro barca, un giornalista e sua moglie incontrano uno studente autostoppista lungo la strada per il porticciolo. Gli offriranno di trascorrere con loro la breve vacanza. Con due attori alle prime armi figura femminile, dapprima (Jolanta Umecka che interpreta ininfluente oggetto della contesa la moglie del giornalista e alla pari d’un coltello, si erge a Zygmunt Malanowicz nei panni catalizzatrice unica delle bieche del giovane) e un curriculum pulsioni d’una società maschilista, personale di una decina scarsa di nonché (sola in grado di esserlo) a cortometraggi, Roman Polanski, giudice del confronto; così il regista e attore polacco, bagna il suo tradimento con lo studente diventa debutto dietro la cinepresa con una la più violenta affermazione di sé nomination all’Oscar come miglior possibile, nonché l’embrione d’un film straniero e col premio tentativo di fuga dalle falsità e FIPRESCI alla miglior regia. cecità coscienti che regolano i La storia de “ Il coltello nell’acqua ” (1962) è rapporti umani (confesserà tutto al marito, che quella del confronto tra due mondi opposti (il non le crederà). -
D-Apres-Une-Histoire-Vraie-Dossier-De
WASSIM BÉJI PRÉSENTE EMMANUELLE EVA SEIGNER GREEN UN FILM DE ROMAN POLANSKI SCÉNARIO OLIVIER ASSAYAS ET ROMAN POLANSKI D’APRÈS LE ROMAN DE DELPHINE DE VIGAN, ÉDITIONS JEAN-CLAUDE LATTÈS MUSIQUE ALEXANDRE DESPLAT DISTRIBUTION DURÉE : 1H40 PRESSE MARS FILMS ANDRÉ-PAUL RICCI ET TONY ARNOUX ER 66, RUE DE MIROMESNIL SORTIE LE 1 NOVEMBRE 6, PLACE DE LA MADELEINE 75008 PARIS 75008 PARIS TÉL. : 01 56 43 67 20 TÉL. : 01 49 53 04 20 [email protected] PHOTOS ET DOSSIER DE PRESSE TÉLÉCHARGEABLES SUR WWW.MARSFILMS.COM [email protected] SYNOPSIS Delphine est l’auteur d’un roman intime et consacré à sa mère devenu best-seller. Déjà éreintée par les sollicitations multiples et fragilisée par le souvenir, Delphine est bientôt tourmentée par des lettres anonymes l’accusant d’avoir livré sa famille en pâture au public. La romancière est en panne, tétanisée à l’idée de devoir se remettre à écrire. Son chemin croise alors celui de Elle. La jeune femme est séduisante, intelligente, intuitive. Elle comprend Delphine mieux que personne. Delphine s’attache à Elle, se confie, s’abandonne. Alors qu’Elle s’installe à demeure chez la romancière, leur amitié prend une tournure inquiétante. Est-elle venue combler un vide ou lui voler sa vie ? ENTRETIEN AVEC ROMAN POLANSKI D’APRÈS UNE HISTOIRE VRAIE est tiré du roman de Delphine Était-ce la seule raison ? Le livre de Delphine de Vigan Pensiez-vous déjà au couple formé par Emmanuelle Seigner de Vigan. Qu’est-ce qui vous a attiré dans ce récit ? contient beaucoup de vos thèmes de prédilection : ce et Eva Green pour les interpréter ? jeu de miroirs entre réalité et fiction qui anime les deux Je n’avais lu aucun des livres de Delphine de Vigan. -
Retrospektive Roman Polanski the PIANIST Roman Polanski
Retrospektive Roman Polanski THE PIANIST Roman Polanski 31 Roman Polanski bei den Dreharbeiten zu Kino der Heimsuchung kennen. Und doch wird der Zuschauer augenblicklich Als die Cinémathèque française im Oktober letzten in den Bann des Films gezogen, in dessen Verlauf die Jahres eine große Ausstellung über die Geschichte der mulmige Enge nachbarschaftlichen Zusammenwoh- Filmtechnik eröffnete, fungierte er als Pate. Eine klü- nens nach und nach in einen Albtraum umschlägt. gere Wahl hätte die Pariser Kinemathek nicht treffen können, denn Roman Polanski hat immer wieder be- Ein Treibhauseffekt tont, wie unverzichtbar für ihn das Handwerk ist, das er Als LE LOCATAIRE 1976 herauskam, fügte er sich in an der Filmhochschule erlernt hat. Darin unterscheide einen Zyklus der klaustrophobisch-pathologischen Er- er sich, bemerkte der Regisseur mit maliziösem Stolz, zählungen, den der Regisseur ein Jahrzehnt zuvor mit doch ganz erheblich von seinen Freunden von der Nou- REPULSION (EKEL) und ROSEMARY'S BABY begonnen velle Vague, die als Filmkritiker angefangen hatten. hatte. Ihr erzählerischer Radius beschränkt sich weitge- Zur Eröffnung der Ausstellung präsentierte er LE hend auf einen Schauplatz. Der filmische Raum ist für LOCATAIRE (DER MIETER), der seinen virtuosen Um- diesen Regisseur eine Sphäre der Heimsuchung, an- gang mit der Technik spektakulär unter Beweis stellt. fangs auch der Halluzinationen und surrealen Verwand- 1976 war er der erste Filmemacher, der den Kamera- lungen. Sich auf einen Handlungsort zu konzentrieren, kran Louma einsetzte. Die Exposition des Films ist eine ist für ihn keine Begrenzung, sondern eine Herausfor- überaus akrobatische Kameraoperation, eine Kombi- derung an seine visuelle und dramaturgische Vorstel- nation aus Fahrten und Schwenks, der die Fassaden lungskraft. -
Jewison's the Thomas Crown Affair
1 The Thomas Crown Affair Reviewed by Garry Victor Hill Produced and directed by Norman Jewison. Associate Producer: Hal Ashby. Screenplay by Alan Trustman. Cinematography by Haskell Wexler. Art Direction by Edward Boyle. Original Music by Michael Legrand. Edited by Hal Ashby, Ralph Winters and Byron Brandt. Key Costumer: Alan Levine. Cinematic length: 102 minutes. Distributed by United Artists. Production companies: The Mirisch Corporation, Simkoe and Solar Productions. Cinematic release: June 1968. DVD release 20. Check for ratings. Rating 70%. 2 All images are taken from the Public Domain and Wiki derivatives with permission. Written Without Prejudice Cast Steve McQueen as Thomas Crown Faye Dunaway as Vicki Anderson Paul Bourke as Detective Eddie Malone Jack Weston as Erwin Weaver Gordon Pinsent as Jamie McDonald Biff McGuire as Sandy Yaphet Kotto as Carl Addison Powell as Abe Astrid Heeren as Gwen Review What you think of this film depends on how important plausibility in plots is to you. Toss plausibility and common sense out and you can enjoy this stylish, very photogenic very sixties romp through the world of the rich. Do not try to make sense out of the motivations of anybody in this film or you will end up as baffled and vexed like the cast’s one sensible exception, Detective Eddie Malone (Paul Burke). He starts losing the plot when he gets the task of finding out who committed a major robbery in Boston, then he has to find out why? He never does and neither does the audience for the robbery’s mastermind is Thomas Crown (Steve McQueen) a prospering multi-millionaire whose idea of a problem is hitting his golf ball out of a sand trap. -
Discurso E(M) Imagem Sobre O Feminino: O Sujeito Nas Telas
JONATHAN RAPHAEL BERTASSI DA SILVA DISCURSO E(M) IMAGEM SOBRE O FEMININO: O SUJEITO NAS TELAS Dissertação apresentada à Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto da USP, como parte das exigências para a obtenção do título de Mestre em Ciências, Área: Psicologia. Orientadora: Profª Drª Lucília Maria Sousa Romão Ribeirão Preto 2012 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Silva, Jonathan Raphael Bertassi da Discurso e(m) imagem sobre o feminino: o sujeito nas telas. Ribeirão Preto, 2010. 220 p. : il. ; 30 cm Dissertação de Mestrado, apresentada à Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto/USP. Área de concentração: Psicologia. Orientador: Romão, Lucília Maria Sousa. 1. Análise do Discurso. 2. Cinema. 3. Feminino. 4. Sexualidade. 5. Imaginário. FOLHA DE APROVAÇÃO Nome: SILVA, Jonathan Raphael Bertassi da Título: Discurso e(m) imagem sobre o feminino: o sujeito nas telas Dissertação apresentada à Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto da USP, como parte das exigências para a obtenção do título de Mestre em Ciências, Área: Psicologia. Aprovado em: __________/__________/ __________ Banca Examinadora Prof. Dr._________________________________________________________________ Instituição:______________________________Assinatura:________________________ Prof. Dr._________________________________________________________________ Instituição:______________________________Assinatura:________________________ -
Clockwork Gente Di Cinema Collana Diretta Da Augusto Sainati
Clockwork gente di cinema Collana diretta da Augusto Sainati Comitato scientifico Sandro Bernardi, Italo Moscati, Ranieri Polese 1.1. ClaudioClaudio Carabba,Carabba, GiovanniGiovanni M.M. RossiRossi (a(a curacura di),di), LaLa vocevoce didi dentro.dentro. IlIl cinemacinema didi ToniToni ServilloServillo,, 2012,2012, pp.pp. 126,126, ill.ill. 2.2. DanieleDaniele Dottorini,Dottorini, FilmareFilmare dall’abisso.dall’abisso. SulSul cinemacinema didi JamesJames CameronCameron,, 2013,2013, pp.pp. 132,132, ill.ill. 3.3. GabrieleGabriele Rizza,Rizza, ChiaraChiara TognolottiTognolotti (a(a curacura di),di), IlIl grandegrande incantatore.incantatore. IlIl cinemacinema didi TerryTerry GilliamGilliam,, 2013,2013, pp.pp. 128,128, ill.ill. 4.4. MarcoMarco Luceri,Luceri, LuigiLuigi NepiNepi (a(a curacura di),di), L’uomoL’uomo deidei sogni.sogni. IlIl cinemacinema didi GiuseppeGiuseppe TornatoreTornatore,, 2014,2014, pp.pp. 128,128, ill.ill. 5.5. LuciaLucia DiDi Girolamo,Girolamo, PerPer amoreamore ee perper gioco.gioco. SulSul cinemacinema didi PedroPedro AlmoAlmo-- dovardovar,, 2015,2015, pp.pp. 160,160, ill.ill. 6.6. EdoardoEdoardo BecattiniBecattini (a(a curacura di),di), CuoreCuore didi tenebra.tenebra. IlIl cinemacinema didi DarioDario ArgentoArgento,, 2015,2015, pp.pp. 128,128, ill.ill. 7.7. IveliseIvelise Perniola,Perniola, GilloGillo PontecorvoPontecorvo oo deldel cinemacinema necessarionecessario,, 2016,2016, pp.pp. 136,136, ill.ill. 8.8. DanielaDaniela BrogiBrogi (a(a curacura di),di), LaLa donnadonna visibile.visibile. IlIl cinemacinema didi StefaniaStefania SandrelliSandrelli,, 2016,2016, pp.pp. 144,144, ill.ill. 9.9. GiovanniGiovanni M.M. Rossi,Rossi, MarcoMarco VanelliVanelli (a(a curacura di),di), PianiPiani didi luce.luce. LaLa cinecine-- matografiamatografia didi VittorioVittorio StoraroStoraro,, 2017,2017, pp.pp. 126,126, ill.ill. -
Arbiter-Thomas-Crown-Ck-Es.Pdf
CROWNING GLORY Steve McQueen’s magnificent wardrobe stole the show in classic 1968 heist film,The Thomas Crown Affair. by wei koh original photography munster FOLLOW SUIT here’s a reason the smartest names in men’s elegance — including Tom Ford, Ralph Lauren, Timothy Everest, Mark Powell and Ozwald Boateng — all regard The Thomas Crown TAffair, the 1968 Norman Jewison-helmed film starring Steve McQueen, as one of the most influential moments in men’s style. To this day, the film remains one of the most empowering intersections between masculinity and sartorial expression ever captured by the camera’s lens. Think back to the era in which it was born, and you’ll find that the film defiantly went against the grain. Late ’60s American cinema was focused on gritty social realism. To put it in perspective, a year after The Thomas Crown Affair, an X-rated movie about a male street hustler titled Midnight Cowboy would win the Academy Award for Best Picture. Even escapist fare like Arthur Penn’s Bonnie & Clyde and Samuel Peckinpah’s The Wild Bunch boasted central characters sublimated in paralytic angst moving inexorably closer to violent ends. So, it was perhaps understandable for reviewers to dismiss a movie like The Thomas Crown Affair — replete with Faye Dunaway’s 31 costume changes, Ferrari GT 250s, Rolls-Royces and, in particular, Steve McQueen’s British-tailored splendour — as mindless eye-candy. Admittedly, the narrative foundation of the film is not the strongest. Dreamt up by lawyer and screenwriter Alan Trustman, its central character is a new-world Boston brahmin — the 36-year-old, divorced, polo-playing arbitrage specialist and self-made millionaire, Thomas Crown. -
Roman Polanski
(r.e.) Il Rossini, finalmente, che aprirà i battenti nella seconda decade di ottobre, con tre nuove sale cinematografiche, il cuore culturale di un complesso decisamente innovativo, nella tipolo - gia degli interni così come nella varietà delle destinazioni, pur nel rispetto dell’originaria strut - tura. Tre sale (la più grande, 300 posti, al primo piano, con la hall di biglietteria; le altre due gemelle, 110 posti ciascuna, al secondo) costituiscono la continuità con la tradizione di un cine - ma noto e celebrato ancor prima come teatro. Un pezzo di Venezia torna al suo posto, al servi - zio della città e dei suoi cittadini, per arricchire un’offerta cinematografica che ora non teme confronti, con otto schermi a disposizione. È anche il completamento di quell’opera di risana - mento promessa, avviata e perseguita con costante determinazione dal Comune di Venezia quando le sorti dell’esercizio cinematografico, nella città della Mostra e delle migliaia di film qui ambientati, sembravano volgere al peggio: nel 1999 il Giorgione, nel 2002 l’Astra, nel 2008 la Casa del Cinema, nel 2012 il Rossini. Chi ricorda la valanga di facili metafore, circa la scom - parsa delle sale quale testimonianza della morte di Venezia, può ora sorridere, anche se resterà sempre qualcuno propenso a ritenere che non sia mai abbastanza. O, al contrario, forse troppo. Due facce del medesimo spleen veneziano. Certo che bisognerà riempirle, quelle otto sale, pro - grammandole opportunamente, chiamando a raccolta un pubblico più vasto e confidando in un’infinità di altri fattori, primi dei quali la ripresa dei consumi e buoni film. Ai veneziani – vero grande capitale sociale del cinema in città – il compito di dare un senso agli otto schermi. -
The Thomas Crown Affair
Urban Optiques “Movies at the Marquis” Viewing Guide Tonight’s Feature The Thomas Crown Affair Viewing Notes Released in 1968, The Thomas Crown Affair directed by Norman Jewison stars Steve McQueen and Faye Dunaway in one of Hollywood’s most stylish heist thrillers. FAST FACTS Nominated for two Year: 1968 Academy Awards and Studio: The Mirisch Corp/United winner of the 1969 Oscar Artists for Best Song with Length: 102 minutes “Windmills of Your Director: Norman Jewison Mind,” The Thomas Screenplay: Alan Trustman Crown Affair remains Color: Color a masterful example of Original Sound Mix: Mono late-60s movie making. A Genre: Crime/Thriller/Romance remake starring Pierce Actors: Steve McQueen, Faye Dun- Brosnan and Rene Russo away, Paul Burke, Jack Weston was released in 1999. Awards: Winner of 1969 Oscar and Golden Globe for Best Music, Plot Original Song for Michel Legrand’s “Windmills of Your Mind.” Thomas Crown (Steve McQueen), a millionaire Budget: $6,000,000 businessman and Box Offi ce Gross: $14,000,000 sportsman, pulls off a perfect crime by having fi ve men rob a Boston Alternative Titles: bank and dump the money - The Crown Caper -- approximately $2.6 - Thomas Crown and Company million -- in a cemetery’s - L’affaire Thomas Crown (France) trash can. Crown retrieves the money later and depos- Original Studio Movie Poster for The Thomas Crown Affair its it at a bank in Geneva. The fi lm also features the now famous chess scene. McQueen and Vicki Anderson (Faye Dunaway), an independent insurance Dunaway play a game of chess, silently fl irting with each other, investigator, is contracted to investigate the heist.