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www.flmmakermagazine.com

CONTENTS FILMMAKER FALL 2007 VOLUME 16 NUMBER 1

EE GG 34 RR the jigsaw man OO EE GG todd hy x  l d EE NN yoloy o Bob Dyl  I’m Not There .. NN IIEE TT By hord F ::EE YY BB OO TT 40 the OVeRaChieVeR OO HH Ry gol c  crrr Or PP movr bou  l cv, I’m Not There d Married Lie , lo   uqu collbrv rlop     drcor. 46 seniOR mOments n yr r k Slums o Beverly HIlls,, tr jk rur o ur fl  70  cocl bu ly ool look d o ly’ urbul rlop  The Savages. By Ry Prd 52 PRaY FOR ROCK ‘n’ ROLL 52 jo gurro  do  jo syl o dcu  uur o flk d  cll o k  l flfl Honeydripper .. 60 the Unseen hanD ar Br-Lv o or   brd or   ollod cld pr mrl Old d r ly or  yr   rv docury My Kid Could Paint That . By jo gurro 66 the Last DRaFt ju Lo lk o adr wr bou  opor or,  dply ro dr

Starting Out In The Evening .. K YY N RR E OO GG W EE 70 N RR the insiDe man 34 A 80 GG H T EE ii The Diving Bell and the Butterfy , jul A NN N AA scbl k j-Doq Buby’ O OO :J ::DD Y YY b-ll or o  uy, ov B BB O OO d  coplo o orly d  T TT O OO H HH r. By sco mculy P PP 7744 sOmething mUst BReaK joy Dvo ro i Cur  pu udr  crocop  ao Corb’ dbu ur Control . By nck Do 78 the hOLLYwOOD LiFe aoy hopk blur y d rly   dor Slipstream.. By sco mculy 80 mY sUPeR sweet 16 jo R dlv o  prcy (  ll lp ro fr-  crrr Dblo Cody)   ollo up o Thank You or Smoking ,, Juno .. By L Y. grby

22 FILMMAKER FALL 2007

FILMMAKER FALL 2007 VOLUME 16 NUMBER 1 ™

NN OO TT LL AA 90 DD 104 Wst 29t Stt, 12t F oooo IIDD VV Nw Yok, NY 10001 AA DD www.fmmakmagazn.com :: YY BB T: (212) 563-0211 Fax: (212) 563-1933 OO TT OO PubliSher HH PP Jay J. Milla jay@fmmakmagazn.com

eDiTOr Scott Macaulay scott@fmmakmagazn.com

SeNiOr eDiTOr Peter Bowen pt@fmmakmagazn.com

MANAGiNG eDiTOr Jason Guerrasio jason@fmmakmagazn.com

ArT DireCTOr Diane Ferrera

ADVerTiSiNG DireCTOr Ian Gilmore an@fmmakmagazn.com

WeST COAST AD MANAGer Carl Gilliard LINE ITEMS ca@fmmakmagazn.com 8686 14 eDit POints SubSCriPTiONS B Croly-mrr rpor o  Arnold Salas dr po produco opo our drcor and@fmmakmagazn.com co o f r fl. COPY eDiTOrS Lance Kaplan 9090 ...anD nOthing BUt the tRUth? Leah Dueffer i p o df docury CONTribuTiNG eDiTOrS flk ar joo lr  l May Gcksman b fco d o  vry blurry. Antony Kafman ba Paman 9292 CameRa test ray Pd j sur  ou  Poc ag-hPX500P. Cck Stpns 9494 CONTribuTiNG PhOTOGrAPherS the POweRs that Be hnny Gafnk alc V Couvr lp d rz rcad Kok or  upco rk. Mca lavn Tom l Goff 9696 PLaY again iona lman Head Trauma drcor Lc wlr o  PrODuCTiON ASSiSTANTS d  orld byod dpd fl. bnjamn Cossy-Maa Jffy Knz 9898 sUPPORt gROUP Gavn Mvs sco mculy rcp  2007 iFP Natan Wagn WebMASTer nrrv Rou Cu Lb. Gog hnk

COLUMNS CONTrOller Pa Kofos 92 2020 in FOCUs PriNTer Fv  fl  poproduco. By mry Scmann Pnts, inc.

gluck NeWSSTAND DiSTribuTiON 2424 inDUstRY Beat Dstco, inc. (905) 619-6969 id doc rul o  y Ocr. By CONTeNT SYNDiCATiON aoy Ku Fatw.com ADVerTiSiNG SAleS 2626 Fest CiRCUit Nw Yok: (212) 563-1577 Rpor ro toroo, Vc d edbur. los Angs: (818) 763-2678 3030 LOaD & PLaY SubSCriPTiONS, MerChANDiSe, bACK iSSueS Cdt cad ods, ca to-f n u.S.: (800) 992-9755 Filmmaker ’ look   o’ DVD rl. 3232 the sUPeR 8 FilMMAKer (iSSN 1063-8954) s manfactd and pntd n t untd Stats. FilMMAKer wcoms nsoctd atcs t svs e   ll kp you   ko. compt dtoa conto ov a smttd mata. A atcs, t- ts o vws psnt t opnon of t atos and do not ncssa- y fct t opnons of t ps o dtos. A matas com REPORTS t popty of FilMMAKer and cannot  tnd nss a stampd, 8-18 The Orphanage ; hdbr Bll; sf-addssd nvop s ncdd. FilMMAKer s std n t Fm ltat indx. FilMMAKer s psd fo tms a ya. T tt Canvas; mobmov; mxc Rvoluo; FilMMAKer and “T Magazn of indpndnt Fm” and ogotyp a gstd tadmaks and svc maks. Copygt 2005 FilM- Maysles; scrr book; iFP mrk. MAKer Magazn. A gts svd. No pat of ts pcaton may  copd y any mans, ctonc o mcanca, ncdng potocopy- ETC. ng, codng o y any nfomaton stoag o tva systm wt- ot t xpss wttn pmsson of t ps. Nwsstand: $5.95 66 LetteR FROm the eDitOR u.S./$7.95 Canada; Sscpton: $18.00 u.S./$20.00 Canada/$40.00 Covr: I’m Not There drcor todd hy. Fogn. POSTMASTer: Pas snd addss cangs to FilMMAKer 111 Poo: hy grukl/Retna LtD. aD inDeX Magazn, 104 Wst 29t Stt, 12t Foo, Nw Yok, NY 10001. 112 PaRting shOt: Dvd Lyc

44 FILMMAKER FALL 2007 editor’s letter

In thinking about this editor’s letter and Filmmaker ’s 15th anniversary issue, I was tempted to ruminate about all the ways that independent film has changed in the past decade and a half. 104 West 29th Street, 12th Floor But before I could do so, my mind wandered instead to all the ways in which the process of mak- New York, NY 10001 Tel: 212-465-8200 inging Filmmaker itself has changed in the last 15 years. In 1992, putting together this magazine was Fax: 212-465-8525 a very different enterprise. Without much in the way of office equipment and in-house design Email: [email protected] expertise, we’d spend many evenings at a Chelsea design firm, waiting for the harried owner to Website: www.ifp.org finish with his corporate clients and devote an hour or two to us. Articles would arrive by FedEx on disk, with new versions often flying back and forth the same way in an editorial process that BOARD OF DIRECTORS stretched out to weeks per piece. We’d get slides from publicists that we’we’d pay to have profession- Steven C. Beer ally scanned. Pitches would come in by snail mail. People would have a hard time navigating our Jeanne R. Berney phone system. (Um, I guess some things don’t change.) And there was no Filmmakermagazine. Anthony Bregman com, no Filmmaker blog, no e-mail newsletter, and weekly online director interviews or video Mark D’Arcy podcasts. Filmmaker ’s audience was in the tens, not hundreds, of thousands. Ira Deutchman Today, thankfully, things are a lot different. Faster computers and the Internet have accel- Matt Dillon erated and streamlined our production cycle. Feedback from our readers is both immediate, Nelson George through email, and public, on our blog. With his Panasonic HVX200P and Final Cut Pro, Howard Graff Jamie Stuart singlehandedly creates for our website idiosyncratic yet gorgeous short films that Dan Klores would have required the services of small crews years ago. Jeffrey Levy-Hinte In looking then at independent film during a time that has spanned Pulp Fiction and Blair Jewell Jackson McCabe Witch, mumblecore and Michael Moore, YouTube, Kazaa and Netflix, it’s easy to see that a lot John Penotti has changed but a lot has also stayed the same. And while it may be easier  more efficient, Carole Rifkind even  to make a microbudget film today, the kinds of inefficiencies that caused us to labori- John Schmidt ously scan photos and FedEx edits still seem to exist when it comes to the distribution and Cyndi Stivers marketing of indie movies. Hopefully as we approach Web 3.0 the business of independent Mark Urman film will make it to version 2.0. We look forward to being hear to talk about it. I also want to Joana Vicente take a moment now to thank Jay Milla for his great work as publisher over the last two years Lance Weiler and to wish him well in his new position as publisher of Moving Pictures Magazine .. George Zuber Thanks for reading us over 15 years and see you next issue. Thomas D. Selz, General Counsel Frankfurt, Kurnit, Klein & Selz

Executive Director Scott Macaulay, Editor Michelle Byrd

Senior Director, Finance & Operations CONTRIBUTORS Mitchell Micich BELLE N. BURKE (pg. 110) writes, translates and follows film in New York and Venice. JAY CASSIDY (pg. 88) is a film editor IFP is a non-profit organization supporting living in Los Angeles. His most recent credits include An Inconvenient Truth andand Into The Wild . PAMELA COHN (pg. 18) is a independent filmmakers. Headquartered freelance media producer, writer and filmmaker based in New York. She writes a blog on nonfiction filmmaking at stillinmotion. in New York City, IFP organizations can be typepad.com. NICK DAWSON (pp. 74, 111) is a freelance writer living in Brooklyn. He is part of the programming team of the found in Chicago, Minneapolis/St. Paul, Glasgow Film Festival in his native Scotland. HOWARD FEINSTEIN (pp. 26, 34) is a film critic living in New York. He programs Phoenix and Seattle. For mo re informa- fiction and documentaries for the Sarajevo Film Festival. LISA Y. GARIBAY (pg. 80) writes about film, music and Latin culture for tion, visit www.ifp.org. various print and online outlets. RYAN GOSLING (pg. 40) is one of the most talented actors of his generation. His breakthrough role came in the 2001 Sundance Grand Jury Prize winner The Believer . Last year he received a Best Actor Oscar nominated for his role in Half Nelson. He will next be seen in Craig Gillespie’sLars and the Real Girl in the fall. ARNE JOHNSON (pg. 90) was a journalist for ten years before recently joining childhood chum Shane King to make the featureGirls Rock! which will hit theaters in March 2008. Learn more at girlsrockmovie.com. LOREN KING (pg. 16) is a Boston-based film critic and features writer whose work has appeared in The Boston Globe ,, Chicago Tribune ,, Boston Phoenix and other publications. She is the president of the Boston Society of Film Critics. JUSTIN LOWE (pg. 66) is a freelance entertainment journalist based in Los Angeles where he covers independent and international film. LIZZIE MARTINEZ (pg. 57) lives with her family in Austin, Texas. Her last article appeared in Mothering Magazine . MIKE PLANTE (pp. 10, 14) is the associate director of programming at CineVegas and the publisher of Cinemad magazine. RAY PRIDE (pg. 46) writes about movies and makes them, too. He is also a photographer. Links to his work are at raypride.com. DURIER RYAN (pg. 16) is a Philadelphia-raised filmmaker and currently is on staff at IFP in New York. JAMIE STUART (pg. 92) is a New York-based filmmaker. His work has run exclusively online, and he currently operates the website mutinycompany.com. ALICIA VAN COUVERING (pg. 94) works nebulously in New York independent film as a writer, actress and in production. Her credits include Junebug ,, Palindromes,, Old Joy,, Tadpole ,, Liberty Kid andandChoke , as well as numerous music video and multi-media projects. LANCE WEILER (pg. 96) has written and directed two feature films  Head Trauma andandThe Last Broadcast . Visit his website at lanceweiler.com.

CORRECTIONS: In our Summer 2007 (Vol. 15, No. 4) “25 New Faces of Independent Film” section, Craig Zoble’s film Great World of Sound was misspelled (pg. 83). And in “Transart Film Express” (pg. 16) we didn’t credit photos of The Rape of the Sabine Women to Eve Sussman & The Rufus Corporation (Girls at the Pool , 2005, photo by Benedikt Partenheimer (pg. 4); Disintegration at Hydra , 2005, photo by Ricoh Gerbl (pg. 16)). We regret the errors.

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REPORTS

BeLÉn rueda in the orphanage .

HELPING HAND BY Jason Guerrasio

Wth  Bst Fog Lgg Osc om- a spine-tingling scene, reveals a supernatural Berlin Film Festival. “Guillermo first told me ination for Pan’s Labyrinth and his member- presence in the house which may hold the key about The Orphanage about a year ago, and ship in the much heralded “three amigos” to Simon’s whereabouts. when I saw the rough cut I realized he was  the others being fellow Mexican filmmak- Written by Sergio G. Sánchez in the late not exaggerating when he said it was both ers Alejandro González Iñárritu and Alfonso ’90s, The Orphanage attracted Bayona’s in- frightening and incredibly emotional,” says Cuarón  Guillermo del Toro has enjoyed terest several years ago. But while Bayona Picturehouse head Bob Berney via e-mail. an increase in notoriety within the last year. had already made a name for himself with “We’re opening The Orphanage around the Along with making more movies himself, he award-winning short films and music videos, same time we did for Pan’s. Guillermo’s film hopes to leverage his critical and box office that experience didn’t help when it came to opened a door for a wider release of Span- clout to help lesser-known talents get their financing the film. Having known del Toro ish language films, and I think Bayona’s film films made. So far, his beneficence is paying since he came to Spain to screen Cronos inin will be able to benefit from that.” off with Juan Antonio Bayona’s chilling debut the early ’90s, Bayona asked his old friend if Recently Bayona’s good fortune contin- feature The Orphanage.. he’d be interested in coming onboard as a ued as The Orphanage received positive Like Pan’s Labyrinth, the film mixes fantasy producer. “They were having huge trouble reviews at the Toronto Film Festival for its and reality as the story follows a family who raising enough money and getting the scares, gorgeous visuals and surprise end- moves into an abandoned orphanage on right talent,” del Toro recalls from the set ing, and New Line announced at the fest the Spanish north coast with the hopes of of of Hellboy 2: The Golden Army in Budapest. that it bought the rights to do an American converting it into a home for disabled chil- “Frankly I read the script dreading the worst. remake (del Toro will produce that as well). dren. Laura (an amazing performance by I thought I’d end up saying no because it’s But looking back, Bayona believes del Toro’s Belén Rueda, The Sea Inside), who once lived very rare that I respond to a screenplay, but I greatest contribution to the project was in the house when it was an orphanage, be- was very happy when I read it and we ended that he relieved the anxieties of making a comes uneasy when her son Simon begins to up getting financing rather quickly.” first feature. “The only pressure was to do talk about his imaginary friends and draws a Having del Toro fully endorsing the film justice to the script and take it to the big scarecrow-headed child that resembles some- didn’t only get Bayona financing and a screen in the best way possible,” he says. “I one from Laura’s past. The tension builds until stellar cast, but also sparked the attention was able to make a film without compro- finally Simon disappears, leaving his mother of an American distributor: Picturehouse mising my instinct or my creative freedom. searching for answers, including calling on the (which released Pan’s Labyrinth last year) It was a blessing.” help of a medium (Geraldine Chaplin), who in bought the U.S. rights during this year’s The Orphanage opens December 28.

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