Check out TheWrap’s digital Cannes magazine issue here. You can find all of TheWrap’s Cannes coverage here.
We’re entering Week 2 of Cannes, and as people eagerly await Wes Anderson’s “The French Dispatch,” strong reviews continue to roll out of the festival, including for recent premieres “Bergman Island” and “Drive My Car.”
“Bergman Island” from director Mia Hansen-Løve turns out to be very Swedish, drawing much of its energy not just from legend Ingmar Bergman, but also a dance sequence set to Abba’s “The Winner Takes It All.” The film follows Tim Roth and Vicky Krieps as American filmmakers who travel to an island where Ingmar Bergman shot many of his iconic films, but as their screenplay develops, their own sense of reality and fiction begins to blur.
Krieps and Roth decided to give one another the finger during their photocall, as you can see below,...
We’re entering Week 2 of Cannes, and as people eagerly await Wes Anderson’s “The French Dispatch,” strong reviews continue to roll out of the festival, including for recent premieres “Bergman Island” and “Drive My Car.”
“Bergman Island” from director Mia Hansen-Løve turns out to be very Swedish, drawing much of its energy not just from legend Ingmar Bergman, but also a dance sequence set to Abba’s “The Winner Takes It All.” The film follows Tim Roth and Vicky Krieps as American filmmakers who travel to an island where Ingmar Bergman shot many of his iconic films, but as their screenplay develops, their own sense of reality and fiction begins to blur.
Krieps and Roth decided to give one another the finger during their photocall, as you can see below,...
- 7/12/2021
- by Brian Welk
- The Wrap
Considering we are no longer getting a James Bond film this spring, those seeking slick espionage thrills will get a healthy dose (and much more of the unexpected) with The Whistlers, the latest work from Romanian director Corneliu Porumboiu, which is now in theaters. Clearly inspired by a number of noir films, today we’re taking a more general look at his favorite movies of all-time.
As voted on in the latest Sight & Sound poll, as well as a recent feature from our friends at Le Cinéma Club, his picks range include a healthy range of world cinema, from Apichatpong Weerasethakul to Michelangelo Antonioni to Éric Rohmer to Yasujirô Ozu. “All of them influenced my way of making movies and also my way of seeing world,” he said of the majority of the selections. Speaking about La Dolce Vita, he added, “I watched it by chance when I was 18 years old.
As voted on in the latest Sight & Sound poll, as well as a recent feature from our friends at Le Cinéma Club, his picks range include a healthy range of world cinema, from Apichatpong Weerasethakul to Michelangelo Antonioni to Éric Rohmer to Yasujirô Ozu. “All of them influenced my way of making movies and also my way of seeing world,” he said of the majority of the selections. Speaking about La Dolce Vita, he added, “I watched it by chance when I was 18 years old.
- 3/11/2020
- by Jordan Raup
- The Film Stage
Of all the legendary early horror films Carl Theodor Dreyer’s vampire nightmare was once the most difficult to appreciate — until Criterion’s restoration of a mostly intact, un-mutilated full cut. Dreyer creates his fantasy according to his own rules — this pallid, claustrophobic horror is closer to Ordet than it is Dracula or Nosferatu.
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
- 9/19/2017
- by Glenn Erickson
- Trailers from Hell
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of “The Trip to Spain,” what is the best movie trilogy?
Richard Brody (@tnyfrontrow), The New Yorker
Far be it from me to choose between Antonioni’s non-trilogy “L’Avventura,” “La Notte,” and “L’Eclisse” and Kiarostami’s explicitly-denied “Koker” trilogy of “Where Is the Friend’s Home?,” “Life and Nothing More,” and “Through the Olive Trees” (and I’m tempted to make a trilogy of trilogies with Carl Theodor Dreyer’s “Day of Wrath,” “Ordet,” and “Gertrud”), but if I put Kiarostami’s films first, it’s because he puts their very creation into the action. Reflexivity isn’t a...
This week’s question: In honor of “The Trip to Spain,” what is the best movie trilogy?
Richard Brody (@tnyfrontrow), The New Yorker
Far be it from me to choose between Antonioni’s non-trilogy “L’Avventura,” “La Notte,” and “L’Eclisse” and Kiarostami’s explicitly-denied “Koker” trilogy of “Where Is the Friend’s Home?,” “Life and Nothing More,” and “Through the Olive Trees” (and I’m tempted to make a trilogy of trilogies with Carl Theodor Dreyer’s “Day of Wrath,” “Ordet,” and “Gertrud”), but if I put Kiarostami’s films first, it’s because he puts their very creation into the action. Reflexivity isn’t a...
- 8/14/2017
- by David Ehrlich
- Indiewire
Ali: Fear Eats the Soul. Courtesy of Janus Film.On the occasion of a comprehensive retrospective the Tiff Bell Lightbox (October 28 - December 23), the need to summarize the thirty plus films of Rainer Werner Fassbinder seems not just daunting, but reductive. How to simplify someone who both evolved and contradicted himself? While typically turning out three films per year between 1966 and his death in 1982, the year 1974 seems like one of the German director’s most unified, at least in terms of one preoccupation: marriage. This particular year seems as possibly a mid-way between Fassbinder’s working out-the-kinks genre exercises (The American Soldier, Love Is Colder Than Death) and the later, lavish international co-productions based on esteemed literary works (Despair, Querelle). The diversity upon which the holy union is depicted can be detected if just judging by each of the three’s own source material; Ali: Fear Eats the Soul a...
- 11/29/2016
- MUBI
This article was published in response to Tales of Cinema: The Films of Hong Sang-soo, a complete retrospective at New York's Museum of the Moving Image. On June 23rd, Hong Sang-soo's Golden Leopard winning Right Now, Wrong Then will receive a theatrical release from Grasshopper Film. You can also read Christopher Small and Daniel Kasman's interview with Hong Sang-soo from the Locarno Film Festival here.With her back to the camera, pencil-like frame aping the posture of a nearby lighthouse that guards the border with the sea, Isabelle Huppert’s atypical protagonist in In Another Country (2012), while dozily imagining yet another iteration of the story's romantic dynamics, becomes a typical image by Hong Sang-soo: a character whose momentary break from their own dreamy game of interchangeable personalities we are suddenly, inexplicably privy to. It’s a day-dream moment that can only be reversed by a structural shift in the story; when Anne's lover,...
- 7/5/2016
- MUBI
In the Qumra Master Class 2016 where James Schamus and Richard Peña, former long-time head of Lincoln Film Society in NYC, carried on an informal and open-ended discussion, James gave a personal view of himself before going into the professional ins and outs of his film production and distribution life.
I was surprised to hear that James, who seems like a quintessential New Yorker, is not a native New Yorker but is an Angeleno and attended Hollywood High in Los Angeles.
When I spoke with him afterward, he said that he actually was from North Hollywood but had attended Jd Melton at Hollywood High. On looking the school up for this article, I was even more pleasantly surprised to see that their branding is serendipitously, “Home of the Sheiks”.
James grew up in L.A. in the 70s and Hollywood High was equivalent to Jodie Foster’s school in “Taxi Driver” only it was in L.A. It was a working class and poor school where only half of the student body took the SATs (College qualifying exams), and he was definitely the nerd in the herd. He would spend his Friday nights watching a little known TV show on the local Channel 13 moderated by the L.A. Times critic Charles Champlin. The show was of silent films and there he saw “Birth of a Nation” and the German Expressionist movies among others. Later he wrote his PhD dissertation Carl Theodor Dreyer's ‘Gertrud’: The Moving Word, and it was published by the University of Washington Press. He moved to New York to write it after completing his Bachelors, Masters and PhD studies at Uc Berkeley.
He said he does not remember much about his high school days, but recently as he was unpacking some old boxes, he came across his high school yearbook.
You know how people signed with little paragraphs? One of these said ‘Thanks for persuading me to skip school with you and going on the 93 bus to see movies’ and it was signed ‘Frank’. I had no idea who Frank was but as I tried to remember, I recalled skipping school to go to L.A.’s only film festival which was new and called ‘Filmex’.
(Editor’s note: Filmex was the creation of ‘The two Garys’, Gary Essert and Gary Abrahams, both of whom died of Aids during the Aids epidemic. Gary Essert was a UCLA Film School student in the 60s where he started Filmex with marathon screenings in the Quonset hut which was the film school. The two Garys are both vividly remembered today by the American Cinematheque crews and others of us from L.A. because the Cinematheque was their creation.)
It was at Filmex that I saw a film made by a film student from USC. It was a sci-fi film and there was a Q&A afterward. The film was called ‘Thx-1138’ and it was by George Lucas. Then I remembered! Frank was Frank Darabont! And we were now sharing the same agent, so I gave him a call and yes, he went to Hollywood High too.
James combines his acclaimed filmmaking career with other roles within the industry: he is a revered film historian and academic. He is also a multi award-winning screenwriter, director and leading U.S. indie producer, best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the U.S. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.
As producers, Schamus and Ted Hope (today head of production at Amazon) co-founded the U.S. low- to no-budget production company Good Machine in the early 1990s.
It was macho to brag about how we made films with no money. ‘I made my movie for $5,000.’ ‘Well, I made mine for $4,000.’
Ted also loves lists and he made a list of all the short films made in the past 10 years by filmmakers who had yet to make feature films. We got the VHS tapes and one of the films we saw was by Ang Lee when he was studying at Nyu. It was called “Fine Line” and was Chazz Palminteri’s first film.
“Fine Line” was about an Italian guy on the run from the mob. It takes place in New York’s Little Italy and Chinatown. Ang Lee had an agent and we called him. He said Ang Lee was working on three great films before hanging up on us…
To hear James tell this story, watch him speaking here with Richard Peña.
What was cut out of the above online story was that at the time of “Pushing Hands”
Ang had no idea we had just contacted his agent and he also thought we would steal all his money. He was 38 years old, an unemployed stay-at-home parent with a working wife and two kids living in a little apartment in New York. In his spare time he had become a great cook. He came in and pitched a comedy for one hour. It was awful. We were such no-money producers; our office was upstairs from a strip club and the music would blast into our offices starting at 2:00 every day. With this pounding beat, he pitched the worst pitch we ever heard. But there was a $5,000 fee for us. I then said that though his pitch was poor he had actually described the entire movie in his head to us scene by scene. He was not trying to sell the film.
So we made the film and then made his second film “Wedding Banquet” which shared a first prize in Berlin. The third film was “Eat Drink Man Woman” from an original idea with a Taiwanese writer, very TV in the open-endedness of all the characters feeling the push and pull of letting it happen. But in this was a Hollywood 40s style screwball comedy that could be imposed.
Again, when James and I spoke together, I challenged him on the claim that “Dim Lake” was Chazz’s first film because my own partner in life and business, Peter Belsito, claims to have produced Chazz’s first film, “Home Free All” at which time Chazz took Peter aside and said, 'I am not just a dumb guinea hoodlum, I am a real actor destined for better roles. I can act serious.' So James and I checked IMDb to see and sure enough, “Dim Lake” was his first film and “Home Free All” was his second, but it was Chazz’ first feature film. We then looked at the rest of his 68 film credits and in every single one, he is playing the Italian.
Doing this with James gave me a momentary feel of his love for research.
“For my first time writing with Ang I needed to research food in Taiwan for ‘Pushing Hands’, the position and placement of food, families and food….The script would be translated from English to Chinese, but Ang was not satisfied with it. I was having trouble tapping into the mentality of the Chinese family so I took all the characters’ names and changed them to Jewish names and rewrote the script totally as a Jewish family. Then I changed the names back to their Chinese names. Ang read the script and said ‘This is really Chinese!’ And so I got ‘the cross-cultural idea’ -- not really…I still don’t get that.
The first day in Taiwan we were shooting the film in a fast food restaurant and I as I watched the rushes, one of the character’s name was Rachel and I realized I had forgotten to change the name back. I asked if we needed to reshoot, but at that time it was a fad to change Chinese names to Anglo names and no one thought it was out of place, and so it stayed.
The most difficult part of the film was shooting the opening title sequence of the father cooking a meal. It went over schedule because it had to be perfect. We used the food so many times it was held together by glue by the end.
Preparing a shot list is very important for Ang and he constantly reduces the list and his vision jells as he does this. By his third film, the process was very internalized. Next he had to communicate it. The plan is always the result of the overall idea. That’s why his style always changes.
As he shoots, the relationship with the editor is very close. He has a long-time relationship with his editor Tim Squyres.
The “Wedding Banquet” was the first film edited on Avid. Before “Wedding Banquet”, four minutes was the full length of films edited on Avid which is now ancient technology.
Tim cuts several versions and talks them through with Ang. They have spent more time in the dark together than most married people. Ang is in the editing room from the beginning to the end. Tim talks very directly, like he might say Ang should have spent more time on a scene or should have shot a scene from a different angle. I used to watch Ang’s face tense up as he listened to Tim’s criticism and often they would fight, but they have spent 25+ years together.
On the transnational global reach of “Crouching Tiger, Hidden Dragon”:
Critics said it was not an authentic chop-socky movie. But the Hong Kong chop-socky genre itself was a regional hybrid. The origins of chop-socky were from Shanghai and Singapore. It was not so “Cantonese” as critics claimed. Bruce Lee himself was U.S. based. So the transnational aspect was already there.
From 2002 to 2014 Schamus was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “ (2002), Henry Selick's “Coraline” (2009) and Sofia Coppola’s “Lost in Translation” (2003).
On actors:
Character is secondary to the action. You only have action and words in a script. Working with good actors, you need images.
Actors are at such high risk, they are very vulnerable. They need respect. Sometimes they act out.
On casting and directors:
During the casting process, the director must direct the actor, set the tone for the part. Most of the film’s directing can be done during the casting process.
On storyboarding:
“Ride with the Devil” was the first film Ang Lee storyboarded. He also storyboarded “Life of Pi”. Storyboarding could take the life out of a movie.
On production design:
It takes lots of research. It includes the worldview of the film and everything ties in to that. It first starts with costumes. Research is not done only by the department but by everyone.
On film distribution and Focus:
Where is distribution now for specialized films? Focus was everything, attached to the studio system as its specialized film division, Focus’ model was not Fox Searchlght’s which is locked into the domestic U.S. market. Seachlight bought global rights and produced by way of its international TV deals. Focus didn’t have that. It had to presell theatrical rights to independent distributors worldwide. Driven primarily by the international marketplace, it could not be driven by U.S. Its primary focus for production was London. It was all international but also driven by flagship releases in the U.S.
In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014).
Paul Allen of Microsoft started Vulcan with a commitment to shorts. I did a doc with a crew of people I had never worked with before. And it was about people like Paul.
In 2016 James made his feature directorial debut with an adaptation of Philip Roth's “Indignation”. It had its world premiere at the Sundance Film Festival in January 2016 and screened at this year’s Berlin International Film Festival in the Panorama section.
Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory.
On Doha’s newest foray into Hollywood:
Doha-based beIN Media Group’s acquiring Miramax could be a great deal depending on the price paid.
Much of the 600-plus films in the Miramax library is probably locked into licensing deals already around the globe, but depending on when those deals are up for renewal and what other rights can be exploited, if the price point was right, it’s a great way to get into the game because they are sitting on top of so much intellectual property.
Just integrating into the deal structures and understanding the economics, from the end point where the money is coming from to the rights holder, is a good idea.
Miramax, under the leadership of Zanne Devine, has also co-acquired with Roadside Attractions, the 2016 Sundance premiering feature, “Southside with You”, the narrative feature of Barak Obama and Michelle’s first date. That will bring beIN into the Roadside Attraction/ Lionsgate sphere of distribution and international sales.
On Hollywood interest in territories like China, India and the Middle East:
The less successful pattern is to find a Hollywood producer who flies in on his private jet and give him hundreds of millions (ed: Stx?) to make movies. This is a very different version, this is owning intellectual property - it’s a good first step.
On moviegoing in the Gulf:
The next step is to build a cinema culture that makes movie-going a practice in the region far more than it is now - movie exhibition and movie-going as a power lever.
On TV in the Middle East:
My intuition says new media, television in particular, is going to be a space that is very dynamic once it breaks open, here in the Gulf or elsewhere.
During this week at Qumra, James is also mentoring 10 filmmakers working on five Dfi-backed projects: Mohamed Al Ibrahim’s “Bull Shark”; Hamida Issa’s “To The Ends Of The Earth”; Sherif Elbendary’s “Ali, The Goat And Ibrahim”; Mohanad Hayal’s “Haifa Street” aka “Death Street”; and Karim Moussaoui’s “Till The Swallows Return”.
Elia Suleiman, the Artistic Advisor to Doha Film Institute, recalls how he and James “grew up together” in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. While at Good Machine, Schamus helped him with his short film. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London, they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film.
When asked by Qumra what was most important, he said “first time filmmakers are the most important”. And he has always been able to spot the most talented of emerging filmmakers.
I was surprised to hear that James, who seems like a quintessential New Yorker, is not a native New Yorker but is an Angeleno and attended Hollywood High in Los Angeles.
When I spoke with him afterward, he said that he actually was from North Hollywood but had attended Jd Melton at Hollywood High. On looking the school up for this article, I was even more pleasantly surprised to see that their branding is serendipitously, “Home of the Sheiks”.
James grew up in L.A. in the 70s and Hollywood High was equivalent to Jodie Foster’s school in “Taxi Driver” only it was in L.A. It was a working class and poor school where only half of the student body took the SATs (College qualifying exams), and he was definitely the nerd in the herd. He would spend his Friday nights watching a little known TV show on the local Channel 13 moderated by the L.A. Times critic Charles Champlin. The show was of silent films and there he saw “Birth of a Nation” and the German Expressionist movies among others. Later he wrote his PhD dissertation Carl Theodor Dreyer's ‘Gertrud’: The Moving Word, and it was published by the University of Washington Press. He moved to New York to write it after completing his Bachelors, Masters and PhD studies at Uc Berkeley.
He said he does not remember much about his high school days, but recently as he was unpacking some old boxes, he came across his high school yearbook.
You know how people signed with little paragraphs? One of these said ‘Thanks for persuading me to skip school with you and going on the 93 bus to see movies’ and it was signed ‘Frank’. I had no idea who Frank was but as I tried to remember, I recalled skipping school to go to L.A.’s only film festival which was new and called ‘Filmex’.
(Editor’s note: Filmex was the creation of ‘The two Garys’, Gary Essert and Gary Abrahams, both of whom died of Aids during the Aids epidemic. Gary Essert was a UCLA Film School student in the 60s where he started Filmex with marathon screenings in the Quonset hut which was the film school. The two Garys are both vividly remembered today by the American Cinematheque crews and others of us from L.A. because the Cinematheque was their creation.)
It was at Filmex that I saw a film made by a film student from USC. It was a sci-fi film and there was a Q&A afterward. The film was called ‘Thx-1138’ and it was by George Lucas. Then I remembered! Frank was Frank Darabont! And we were now sharing the same agent, so I gave him a call and yes, he went to Hollywood High too.
James combines his acclaimed filmmaking career with other roles within the industry: he is a revered film historian and academic. He is also a multi award-winning screenwriter, director and leading U.S. indie producer, best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the U.S. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.
As producers, Schamus and Ted Hope (today head of production at Amazon) co-founded the U.S. low- to no-budget production company Good Machine in the early 1990s.
It was macho to brag about how we made films with no money. ‘I made my movie for $5,000.’ ‘Well, I made mine for $4,000.’
Ted also loves lists and he made a list of all the short films made in the past 10 years by filmmakers who had yet to make feature films. We got the VHS tapes and one of the films we saw was by Ang Lee when he was studying at Nyu. It was called “Fine Line” and was Chazz Palminteri’s first film.
“Fine Line” was about an Italian guy on the run from the mob. It takes place in New York’s Little Italy and Chinatown. Ang Lee had an agent and we called him. He said Ang Lee was working on three great films before hanging up on us…
To hear James tell this story, watch him speaking here with Richard Peña.
What was cut out of the above online story was that at the time of “Pushing Hands”
Ang had no idea we had just contacted his agent and he also thought we would steal all his money. He was 38 years old, an unemployed stay-at-home parent with a working wife and two kids living in a little apartment in New York. In his spare time he had become a great cook. He came in and pitched a comedy for one hour. It was awful. We were such no-money producers; our office was upstairs from a strip club and the music would blast into our offices starting at 2:00 every day. With this pounding beat, he pitched the worst pitch we ever heard. But there was a $5,000 fee for us. I then said that though his pitch was poor he had actually described the entire movie in his head to us scene by scene. He was not trying to sell the film.
So we made the film and then made his second film “Wedding Banquet” which shared a first prize in Berlin. The third film was “Eat Drink Man Woman” from an original idea with a Taiwanese writer, very TV in the open-endedness of all the characters feeling the push and pull of letting it happen. But in this was a Hollywood 40s style screwball comedy that could be imposed.
Again, when James and I spoke together, I challenged him on the claim that “Dim Lake” was Chazz’s first film because my own partner in life and business, Peter Belsito, claims to have produced Chazz’s first film, “Home Free All” at which time Chazz took Peter aside and said, 'I am not just a dumb guinea hoodlum, I am a real actor destined for better roles. I can act serious.' So James and I checked IMDb to see and sure enough, “Dim Lake” was his first film and “Home Free All” was his second, but it was Chazz’ first feature film. We then looked at the rest of his 68 film credits and in every single one, he is playing the Italian.
Doing this with James gave me a momentary feel of his love for research.
“For my first time writing with Ang I needed to research food in Taiwan for ‘Pushing Hands’, the position and placement of food, families and food….The script would be translated from English to Chinese, but Ang was not satisfied with it. I was having trouble tapping into the mentality of the Chinese family so I took all the characters’ names and changed them to Jewish names and rewrote the script totally as a Jewish family. Then I changed the names back to their Chinese names. Ang read the script and said ‘This is really Chinese!’ And so I got ‘the cross-cultural idea’ -- not really…I still don’t get that.
The first day in Taiwan we were shooting the film in a fast food restaurant and I as I watched the rushes, one of the character’s name was Rachel and I realized I had forgotten to change the name back. I asked if we needed to reshoot, but at that time it was a fad to change Chinese names to Anglo names and no one thought it was out of place, and so it stayed.
The most difficult part of the film was shooting the opening title sequence of the father cooking a meal. It went over schedule because it had to be perfect. We used the food so many times it was held together by glue by the end.
Preparing a shot list is very important for Ang and he constantly reduces the list and his vision jells as he does this. By his third film, the process was very internalized. Next he had to communicate it. The plan is always the result of the overall idea. That’s why his style always changes.
As he shoots, the relationship with the editor is very close. He has a long-time relationship with his editor Tim Squyres.
The “Wedding Banquet” was the first film edited on Avid. Before “Wedding Banquet”, four minutes was the full length of films edited on Avid which is now ancient technology.
Tim cuts several versions and talks them through with Ang. They have spent more time in the dark together than most married people. Ang is in the editing room from the beginning to the end. Tim talks very directly, like he might say Ang should have spent more time on a scene or should have shot a scene from a different angle. I used to watch Ang’s face tense up as he listened to Tim’s criticism and often they would fight, but they have spent 25+ years together.
On the transnational global reach of “Crouching Tiger, Hidden Dragon”:
Critics said it was not an authentic chop-socky movie. But the Hong Kong chop-socky genre itself was a regional hybrid. The origins of chop-socky were from Shanghai and Singapore. It was not so “Cantonese” as critics claimed. Bruce Lee himself was U.S. based. So the transnational aspect was already there.
From 2002 to 2014 Schamus was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “ (2002), Henry Selick's “Coraline” (2009) and Sofia Coppola’s “Lost in Translation” (2003).
On actors:
Character is secondary to the action. You only have action and words in a script. Working with good actors, you need images.
Actors are at such high risk, they are very vulnerable. They need respect. Sometimes they act out.
On casting and directors:
During the casting process, the director must direct the actor, set the tone for the part. Most of the film’s directing can be done during the casting process.
On storyboarding:
“Ride with the Devil” was the first film Ang Lee storyboarded. He also storyboarded “Life of Pi”. Storyboarding could take the life out of a movie.
On production design:
It takes lots of research. It includes the worldview of the film and everything ties in to that. It first starts with costumes. Research is not done only by the department but by everyone.
On film distribution and Focus:
Where is distribution now for specialized films? Focus was everything, attached to the studio system as its specialized film division, Focus’ model was not Fox Searchlght’s which is locked into the domestic U.S. market. Seachlight bought global rights and produced by way of its international TV deals. Focus didn’t have that. It had to presell theatrical rights to independent distributors worldwide. Driven primarily by the international marketplace, it could not be driven by U.S. Its primary focus for production was London. It was all international but also driven by flagship releases in the U.S.
In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014).
Paul Allen of Microsoft started Vulcan with a commitment to shorts. I did a doc with a crew of people I had never worked with before. And it was about people like Paul.
In 2016 James made his feature directorial debut with an adaptation of Philip Roth's “Indignation”. It had its world premiere at the Sundance Film Festival in January 2016 and screened at this year’s Berlin International Film Festival in the Panorama section.
Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory.
On Doha’s newest foray into Hollywood:
Doha-based beIN Media Group’s acquiring Miramax could be a great deal depending on the price paid.
Much of the 600-plus films in the Miramax library is probably locked into licensing deals already around the globe, but depending on when those deals are up for renewal and what other rights can be exploited, if the price point was right, it’s a great way to get into the game because they are sitting on top of so much intellectual property.
Just integrating into the deal structures and understanding the economics, from the end point where the money is coming from to the rights holder, is a good idea.
Miramax, under the leadership of Zanne Devine, has also co-acquired with Roadside Attractions, the 2016 Sundance premiering feature, “Southside with You”, the narrative feature of Barak Obama and Michelle’s first date. That will bring beIN into the Roadside Attraction/ Lionsgate sphere of distribution and international sales.
On Hollywood interest in territories like China, India and the Middle East:
The less successful pattern is to find a Hollywood producer who flies in on his private jet and give him hundreds of millions (ed: Stx?) to make movies. This is a very different version, this is owning intellectual property - it’s a good first step.
On moviegoing in the Gulf:
The next step is to build a cinema culture that makes movie-going a practice in the region far more than it is now - movie exhibition and movie-going as a power lever.
On TV in the Middle East:
My intuition says new media, television in particular, is going to be a space that is very dynamic once it breaks open, here in the Gulf or elsewhere.
During this week at Qumra, James is also mentoring 10 filmmakers working on five Dfi-backed projects: Mohamed Al Ibrahim’s “Bull Shark”; Hamida Issa’s “To The Ends Of The Earth”; Sherif Elbendary’s “Ali, The Goat And Ibrahim”; Mohanad Hayal’s “Haifa Street” aka “Death Street”; and Karim Moussaoui’s “Till The Swallows Return”.
Elia Suleiman, the Artistic Advisor to Doha Film Institute, recalls how he and James “grew up together” in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. While at Good Machine, Schamus helped him with his short film. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London, they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film.
When asked by Qumra what was most important, he said “first time filmmakers are the most important”. And he has always been able to spot the most talented of emerging filmmakers.
- 4/3/2016
- by Sydney Levine
- Sydney's Buzz
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
The software used by Studio Ghibli will be free and open source starting on March 26th, Wired reports.
Explore the symmetry and camera movement in Amélie:
RogerEbert.com‘s Steve Erickson on the current state of foreign-language film distribution:
There’s no end to the essays by baby-boomers recalling the golden age of art cinema from the ‘50s to the ‘70s, many of them proclaiming the death of the movies in the present day. I was born in 1972, so I missed out on personally experiencing this arthouse heyday; my earliest exposure to world cinema came in the late ‘80s, when its Us distribution was at an unprecedented nadir.
The software used by Studio Ghibli will be free and open source starting on March 26th, Wired reports.
Explore the symmetry and camera movement in Amélie:
RogerEbert.com‘s Steve Erickson on the current state of foreign-language film distribution:
There’s no end to the essays by baby-boomers recalling the golden age of art cinema from the ‘50s to the ‘70s, many of them proclaiming the death of the movies in the present day. I was born in 1972, so I missed out on personally experiencing this arthouse heyday; my earliest exposure to world cinema came in the late ‘80s, when its Us distribution was at an unprecedented nadir.
- 3/21/2016
- by TFS Staff
- The Film Stage
The second edition of Qumra, March 4 - 9, the industry development event organized by the Doha Film Institute to nurture emerging voices in cinema with a focus on first and second-time filmmakers, will include as Masters, James Schamus and Joshua Oppenheimer along with Naomi Kawase, Aleksandr Sokurov and Nuri Bilge Ceylan participating in a series of master classes and one-on-one sessions with selected Qumra filmmakers and their projects along with screenings and Q&A sessions for Doha audiences throughout the week.
Read about previously announced Qumra Masters.
Held at the incredibly beautiful Museum of Islamic Art, designed by Pritzker Prize-winning architect I.M. Pei, and a cultural partner of the Doha Film Institute, Qumra supports the development of emerging filmmakers from Qatar, the Arab region and around the world. Dfi has arranged a “rainbow of colors in a bouquet of participants and masters”. Elia Suleiman, Artistic Advisor for the Doha Film Institute says, “each master is very different and the event looks like an edition of poetry.”
Due to unforeseen circumstances, previously announced Qumra Master Lucrecia Martel is no longer able to participate this year.
Directors and producers attached to up to thirty three projects in development or post-production are invited to participate in Qumra, named from the Arabic term ‘qumra’ popularly said to be the origin of the word ‘camera’ and used by the scientist, astronomer and mathematician Alhazen (Ibn al-Haytham, 965-c.1040 Ce), whose work in optics laid out the principles of the camera obscura.
Qumra includes a number of emerging filmmakers from Qatar, as well as recipients of funding from the Institute’s Grants Program. The robust program features industry meetings designed to assist with propelling projects to their next stages of development, master classes, work-in-progress screenings, matchmaking sessions and tailored workshops with industry experts. This creative exchange takes place alongside a program of public screenings curated with input from the Qumra Masters.
Especially appealing about this event, seen in light of mega-events as Berlin, Cannes, Tiff and Sundance is the intimacy of everyone sharing meals, attending the same party, staying at the same hotel within the famed souk and in walking distance to the museum. Only 150 people, all working hard and all meeting every day as they work with 23 features, 11 of which are in development and 12 in post whose program has been guided by Elia Suleiman and Qumra Deputy Director Hanaa Issa. The Qumra team will also help us navigate the souk to find the best bargains in spices like saffron and sumac and tumeric, textiles and other middle eastern treasures from the silk road!
Qumra has come a long way in one year; where last year there was only one documentary, this year there are eight documentary features – four in development and four works-in-progress - and four short documentaries in development. Five of them are Qatari, five are from the Mena region and two international. There are 23 features of which five are from Qatar and 10 shorts, all from Qatar. Each Master will meet with four to five filmmakers formally but the collaboration among mentors and emerging filmmakers will extend far beyond such formal meetings.
There are also three great moderators of panels: Richard Pena, the longtime chief for the Film Society of Lincoln Center in New York, Jean Michel Poignet and Paolo Bertolini of the Venice Film Festival.
Also included is a highly engaging selection of movies by the five Qumra Masters and from a selection of emerging talent during daily screenings and Q&A sessions. The selection includes Academy Award, Cannes Film Festival and Ajyal Youth Film Festival award winners.
Doha Film Institute CEO Fatma Al Remaihi said: “This year, the Qumra Screenings will showcase the work of five esteemed masters of cinema alongside some tremendously talented emerging filmmakers. By presenting these two spectrums of cinematic works, Qumra will offer audiences highly engaging film experiences that will present new insights into the language of cinema and the process behind the creation of compelling films. They will also be educational and inspirational, underlining our commitment to strengthening film culture in Qatar by promoting access to and appreciation of world cinema.”
The Masters screenings, accompanied by Q&A sessions with the visiting Qumra Masters linked to each film are “The Look of Silence” (Denmark, Indonesia, Finland, Norway, UK / Indonesian, Javanese /2014) by Qumra Master Joshua Oppenheimer, “Once Upon a Time in Anatolia” (Turkey, Bosnia and Herzegovina / Turkish / 2011) by Qumra Master Nuri Bilge Ceylan; “The Russian Ark” (Russian Federation, Canada, Denmark, Finland, Germany, Japan / Russian / 2002) by Qumra Master Aleksandr Sokurov; “The Mourning Forest” (Japan, France / Japanese / 2007) by Qumra Master Naomi Kawase; and “Crouching Tiger, Hidden Dragon” (Taiwan, Hong Kong, USA, China / Mandarin / 2001) by Ang Lee, co-written and produced by Lee’s longtime collaborator and Qumra Master, James Schamus.
The ‘New Voices in Cinema’ screenings include two feature films granted by the Doha Film Institute: “ Mediterranea” (Italy, France, Germany, Qatar/ Arabic, English, French, Italian; 2015) by Jonas Carpignano being sold internationally by Ndm and Wme; “Roundabout in my Head”/ “Fi rassi roun-point” (Algeria, France, Qatar/Arabic/2015); and two award-winning short films “Waves 98” by Ely Dagher (Lebanon, Qatar / Arabic / 2015), winner of the Palme d’Or for Best Short Film at the 2015 Cannes Film Festival and “The Palm Tree ” (Qatar, No Dialogue, 2015) by Jasim Al Rumaihi, winner of the 2015 Ajyal Youth Film Festival Made in Qatar Award for Best Documentary.
“We are privileged to have James Schamus and Joshua Oppenheimer participate as Qumra Masters this year,” said Doha Film Institute CEO Fatma Al Remaihi. “Both filmmakers, while very different in style, are truly ground-breaking in their fields and bring a wealth of experience to Qumra that will be invaluable for the young filmmakers participating.”
“We look forward to welcoming James and Joshua to the Gulf region for the first time and enabling our Qumra 2016 participants to establish a connection with these two leaders of independent filmmaking in the Us.”
Both Schamus and Oppenheimer were born in the Us and combine their acclaimed filmmaking careers with other roles within the industry: Schamus as a revered film historian and academic; and Oppenheimer as Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Schamus, a multi award-winning screenwriter, director and leading Us indie producer, is best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the Us. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.
As a producer, Schamus co-founded the Us powerhouse production company Good Machine in the early 1990s, and then from 2002 to 2014 was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “(2002), Henry Selick's Coraline (2009) and Sofia Coppola’s “Lost in Translation” (2003).
In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014), and in 2016 made his feature directorial debut with an adaptation of Philip Roth's “Indignation," which had its world premiere at the Sundance Film Festival in January 2016 and is screening at this year’s Berlin International Film Festival in the Panorama section.
Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory, and is the author of 'Carl Theodor Dreyer's Gertrud: The Moving Word', published by the University of Washington Press.
Elia Suleiman , the Artistic Advisor to Doha Film Institute, recalls how he and James grew up together in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. Schamus helped him with his short film while at Good Machine. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film. When asked by Qumra what was most important, he said first time filmmakers were the most important. And he has always been able to spot the most talented of emerging filmmakers.
Two-time Academy Award nominee Joshua Oppenheimer’s debut feature-length film, “The Act of Killing” (2012) was nominated for the Academy Award for Best Documentary Feature Film, named Film of the Year by The Guardian and the Sight and Sound Film Poll, and won 72 international awards, including a European Film Award, a BAFTA, an Asia Pacific Screen Award, a Berlin International Film Festival Audience Award, and the Guardian Film Award for Best Film.
His second film, “The Look of Silence” (2014) had its world premiere at the Venice Film Festival, where it won five awards including the Grand Jury Prize, the Fipresci Prize and the Fedeora Prize. It was nominated for the 2016 Oscar for Best Documentary Film, and has received 66 international awards, including an International Documentary Association Award for Best Documentary, a Gotham Award for Best Documentary, and three Cinema Eye Honors for Nonfiction Filmmaking.
Oppenheimer is a partner at the Final Cut for Real production company in Copenhagen, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster, London.
Many of the industry guests include returnees as well as the new guests which count Bero Beyer, Rotterdam; Tine Fisher, Cph Dox; Christophe Le Parc, Director’s Fortnight, Cannes; Vincenzo Bugno, World Cinema Fund, Berlinale; Cameron Bailey, Tiff and Carlo Chatrian, Locarno here for their second time; Sundance for its first year; Matthijs Wouter Knol, European Film Market; Mike Goodridge, Protagonist; Memento Films, Arte; Michael Werner, Fortissimo; Alaa Karkouti, Mad Solutions and Selim El Azar, Gulf Films.
Also attending for the first time will be Netflix who picked up “Under the Shadow” an elevated horror/ thriller partially funded by the Doha Film Institute, Film Movement and the Ford Foundation.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal (“Amores Perros”; “No”; “Deficit”), Mauritanian director Abderrahmane Sissako (Timbuktu - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”; “Beyond the Hills”); and Bosnian writer/director Danis Tanović (“An Episode in the Life of an Iron Picker”; “Tigers”, “No Man’s Land” - winner of Academy Award for Best Foreign Language Film in 2001).
Read about previously announced Qumra Masters.
Held at the incredibly beautiful Museum of Islamic Art, designed by Pritzker Prize-winning architect I.M. Pei, and a cultural partner of the Doha Film Institute, Qumra supports the development of emerging filmmakers from Qatar, the Arab region and around the world. Dfi has arranged a “rainbow of colors in a bouquet of participants and masters”. Elia Suleiman, Artistic Advisor for the Doha Film Institute says, “each master is very different and the event looks like an edition of poetry.”
Due to unforeseen circumstances, previously announced Qumra Master Lucrecia Martel is no longer able to participate this year.
Directors and producers attached to up to thirty three projects in development or post-production are invited to participate in Qumra, named from the Arabic term ‘qumra’ popularly said to be the origin of the word ‘camera’ and used by the scientist, astronomer and mathematician Alhazen (Ibn al-Haytham, 965-c.1040 Ce), whose work in optics laid out the principles of the camera obscura.
Qumra includes a number of emerging filmmakers from Qatar, as well as recipients of funding from the Institute’s Grants Program. The robust program features industry meetings designed to assist with propelling projects to their next stages of development, master classes, work-in-progress screenings, matchmaking sessions and tailored workshops with industry experts. This creative exchange takes place alongside a program of public screenings curated with input from the Qumra Masters.
Especially appealing about this event, seen in light of mega-events as Berlin, Cannes, Tiff and Sundance is the intimacy of everyone sharing meals, attending the same party, staying at the same hotel within the famed souk and in walking distance to the museum. Only 150 people, all working hard and all meeting every day as they work with 23 features, 11 of which are in development and 12 in post whose program has been guided by Elia Suleiman and Qumra Deputy Director Hanaa Issa. The Qumra team will also help us navigate the souk to find the best bargains in spices like saffron and sumac and tumeric, textiles and other middle eastern treasures from the silk road!
Qumra has come a long way in one year; where last year there was only one documentary, this year there are eight documentary features – four in development and four works-in-progress - and four short documentaries in development. Five of them are Qatari, five are from the Mena region and two international. There are 23 features of which five are from Qatar and 10 shorts, all from Qatar. Each Master will meet with four to five filmmakers formally but the collaboration among mentors and emerging filmmakers will extend far beyond such formal meetings.
There are also three great moderators of panels: Richard Pena, the longtime chief for the Film Society of Lincoln Center in New York, Jean Michel Poignet and Paolo Bertolini of the Venice Film Festival.
Also included is a highly engaging selection of movies by the five Qumra Masters and from a selection of emerging talent during daily screenings and Q&A sessions. The selection includes Academy Award, Cannes Film Festival and Ajyal Youth Film Festival award winners.
Doha Film Institute CEO Fatma Al Remaihi said: “This year, the Qumra Screenings will showcase the work of five esteemed masters of cinema alongside some tremendously talented emerging filmmakers. By presenting these two spectrums of cinematic works, Qumra will offer audiences highly engaging film experiences that will present new insights into the language of cinema and the process behind the creation of compelling films. They will also be educational and inspirational, underlining our commitment to strengthening film culture in Qatar by promoting access to and appreciation of world cinema.”
The Masters screenings, accompanied by Q&A sessions with the visiting Qumra Masters linked to each film are “The Look of Silence” (Denmark, Indonesia, Finland, Norway, UK / Indonesian, Javanese /2014) by Qumra Master Joshua Oppenheimer, “Once Upon a Time in Anatolia” (Turkey, Bosnia and Herzegovina / Turkish / 2011) by Qumra Master Nuri Bilge Ceylan; “The Russian Ark” (Russian Federation, Canada, Denmark, Finland, Germany, Japan / Russian / 2002) by Qumra Master Aleksandr Sokurov; “The Mourning Forest” (Japan, France / Japanese / 2007) by Qumra Master Naomi Kawase; and “Crouching Tiger, Hidden Dragon” (Taiwan, Hong Kong, USA, China / Mandarin / 2001) by Ang Lee, co-written and produced by Lee’s longtime collaborator and Qumra Master, James Schamus.
The ‘New Voices in Cinema’ screenings include two feature films granted by the Doha Film Institute: “ Mediterranea” (Italy, France, Germany, Qatar/ Arabic, English, French, Italian; 2015) by Jonas Carpignano being sold internationally by Ndm and Wme; “Roundabout in my Head”/ “Fi rassi roun-point” (Algeria, France, Qatar/Arabic/2015); and two award-winning short films “Waves 98” by Ely Dagher (Lebanon, Qatar / Arabic / 2015), winner of the Palme d’Or for Best Short Film at the 2015 Cannes Film Festival and “The Palm Tree ” (Qatar, No Dialogue, 2015) by Jasim Al Rumaihi, winner of the 2015 Ajyal Youth Film Festival Made in Qatar Award for Best Documentary.
“We are privileged to have James Schamus and Joshua Oppenheimer participate as Qumra Masters this year,” said Doha Film Institute CEO Fatma Al Remaihi. “Both filmmakers, while very different in style, are truly ground-breaking in their fields and bring a wealth of experience to Qumra that will be invaluable for the young filmmakers participating.”
“We look forward to welcoming James and Joshua to the Gulf region for the first time and enabling our Qumra 2016 participants to establish a connection with these two leaders of independent filmmaking in the Us.”
Both Schamus and Oppenheimer were born in the Us and combine their acclaimed filmmaking careers with other roles within the industry: Schamus as a revered film historian and academic; and Oppenheimer as Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Schamus, a multi award-winning screenwriter, director and leading Us indie producer, is best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the Us. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.
As a producer, Schamus co-founded the Us powerhouse production company Good Machine in the early 1990s, and then from 2002 to 2014 was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “(2002), Henry Selick's Coraline (2009) and Sofia Coppola’s “Lost in Translation” (2003).
In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014), and in 2016 made his feature directorial debut with an adaptation of Philip Roth's “Indignation," which had its world premiere at the Sundance Film Festival in January 2016 and is screening at this year’s Berlin International Film Festival in the Panorama section.
Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory, and is the author of 'Carl Theodor Dreyer's Gertrud: The Moving Word', published by the University of Washington Press.
Elia Suleiman , the Artistic Advisor to Doha Film Institute, recalls how he and James grew up together in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. Schamus helped him with his short film while at Good Machine. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film. When asked by Qumra what was most important, he said first time filmmakers were the most important. And he has always been able to spot the most talented of emerging filmmakers.
Two-time Academy Award nominee Joshua Oppenheimer’s debut feature-length film, “The Act of Killing” (2012) was nominated for the Academy Award for Best Documentary Feature Film, named Film of the Year by The Guardian and the Sight and Sound Film Poll, and won 72 international awards, including a European Film Award, a BAFTA, an Asia Pacific Screen Award, a Berlin International Film Festival Audience Award, and the Guardian Film Award for Best Film.
His second film, “The Look of Silence” (2014) had its world premiere at the Venice Film Festival, where it won five awards including the Grand Jury Prize, the Fipresci Prize and the Fedeora Prize. It was nominated for the 2016 Oscar for Best Documentary Film, and has received 66 international awards, including an International Documentary Association Award for Best Documentary, a Gotham Award for Best Documentary, and three Cinema Eye Honors for Nonfiction Filmmaking.
Oppenheimer is a partner at the Final Cut for Real production company in Copenhagen, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster, London.
Many of the industry guests include returnees as well as the new guests which count Bero Beyer, Rotterdam; Tine Fisher, Cph Dox; Christophe Le Parc, Director’s Fortnight, Cannes; Vincenzo Bugno, World Cinema Fund, Berlinale; Cameron Bailey, Tiff and Carlo Chatrian, Locarno here for their second time; Sundance for its first year; Matthijs Wouter Knol, European Film Market; Mike Goodridge, Protagonist; Memento Films, Arte; Michael Werner, Fortissimo; Alaa Karkouti, Mad Solutions and Selim El Azar, Gulf Films.
Also attending for the first time will be Netflix who picked up “Under the Shadow” an elevated horror/ thriller partially funded by the Doha Film Institute, Film Movement and the Ford Foundation.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal (“Amores Perros”; “No”; “Deficit”), Mauritanian director Abderrahmane Sissako (Timbuktu - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”; “Beyond the Hills”); and Bosnian writer/director Danis Tanović (“An Episode in the Life of an Iron Picker”; “Tigers”, “No Man’s Land” - winner of Academy Award for Best Foreign Language Film in 2001).
- 2/24/2016
- by Sydney Levine
- Sydney's Buzz
Above: Us poster for Alphaville (Jean-Luc Godard, France, 1965).As the 53rd New York Film Festival ends today, I thought I would go back half a century and take a look at the 3rd edition of the festival. Curated by Amos Vogel and Richard Roud, the then fledgling fest comprised 17 new features, 6 retrospective selections (ranging from Feuillade’s 1915 Les vampires to Godard’s 1960 Le petit soldat), and a number of shorts or demi-features (including Chris Marker’s The Koumiko Mystery). The main slate was chock-full of masterpieces (Gertrud, Alphaville, Charulata) and films by masters (Franju, Visconti, Kurosawa) and young turks on the rise (Straub, Bellocchio, Forman, Penn, Skolimowski). And there is only one film in the list—Laurence L. Kent’s Canadian indie Caressed—that I had never heard of before.In his introduction to the festival catalog Amos Vogel wrote:“Several fascinating, contradictory facts stand out in the 1965 New York film scene.
- 10/11/2015
- by Adrian Curry
- MUBI
In Reverse Shot, Michael Pattison writes about the 18 films Sergei Loznitsa has made since 1996: "In his three best-known films"—My Joy (2010), In the Fog (2012) and Maidan (2014)—"he shows himself to be—all at once—an artist, a documentarian, an ethnographer, a historian, and a storyteller." Also in today's roundup: David Bordwell on Jean-Luc Godard, Burt Lancaster and Bill Forsyth; Howard Hampton on Stephen Frears's My Beautiful Laundrette; Jonathan Rosenbaum on Carl Dreyer’s Gertrud; James Slaymaker on Robert Greene; Patrick Z. McGavin's interview with Christian Petzold and Nina Hoss; plus Jacques Rivette's interview with Jean Renoir and more. » - David Hudson...
- 8/4/2015
- Fandor: Keyframe
In Reverse Shot, Michael Pattison writes about the 18 films Sergei Loznitsa has made since 1996: "In his three best-known films"—My Joy (2010), In the Fog (2012) and Maidan (2014)—"he shows himself to be—all at once—an artist, a documentarian, an ethnographer, a historian, and a storyteller." Also in today's roundup: David Bordwell on Jean-Luc Godard, Burt Lancaster and Bill Forsyth; Howard Hampton on Stephen Frears's My Beautiful Laundrette; Jonathan Rosenbaum on Carl Dreyer’s Gertrud; James Slaymaker on Robert Greene; Patrick Z. McGavin's interview with Christian Petzold and Nina Hoss; plus Jacques Rivette's interview with Jean Renoir and more. » - David Hudson...
- 8/4/2015
- Keyframe
"The enjoyment of a work of art, the acceptance of an irresistible illusion, constituting, to my sense, our highest experience of "luxury," the luxury is not greatest, by my consequent measure, when the work asks for as little attention as possible. It is greatest, it is delightfully, divinely great, when we feel the surface, like the thick ice of the skater's pond, bear without cracking the strongest pressure we throw on it. The sound of the crack one may recognise, but never surely to call it a luxury." —Henry James, from The Preface to The Wings of the Dove (1909) "[The critic’s] choice of best salami is a picture backed by studio build-up, agreement amongst his colleagues, a layout in Life mag (which makes it officially reasonable for an American award), and a list of ingredients that anyone’s unsophisticated aunt in Oakland can spot as comprising a distinguished film. This prize picture,...
- 7/27/2015
- by Greg Gerke
- MUBI
James Schamus has aced several careers so far, including screenwriter ("Crouching Tiger, Hidden Dragon"), studio head (Focus Features), published author ("Carl Theodor Dreyer's 'Gertrud': The Moving Word") and Columbia film professor. Now, after helming two shorts, he's adding feature director to his list. Schamus is directing the 50s drama "Indignation," which he is adapting from the Philip Roth novel. Principal photography starts this week in and around New York City. Logan Lerman stars as Marcus Messner, the idealistic son of a humble kosher butcher (Danny Burstein) and his wife (Linda Emond) from Newark, New Jersey. When Marcus attends college in Ohio, he falls for a beautiful but troubled girl (Sarah Gadon), and gets into a confrontation with the school administration and its dean (Tracy Letts) over its sexual politics. "Indignation" will be produced by Likely Story and Symbolic Exchange Productions in co-production with...
- 6/15/2015
- by Anne Thompson
- Thompson on Hollywood
What a shame that Jessica Chastain's fiery turn in "Miss Julie" went unnoticed by Academy voters. Director Liv Ullmann's complex take on August Strindberg's early feminist play may be too stagey for some, but this is Best Actress material for Chastain, who injects vitality into a repressed 19th-century woman who falls from grace. Chastain's electrifying performance places among the great female dramatic turns in a literary tragedy, from Nina Pens Rode in "Gertrud" to Nastassja Kinski in "Tess" and Isabelle Huppert in "Madame Bovary." So why was no one talking about it? "Miss Julie" premiered at Tiff 2014 to unenthusiastic response and remained at-large on the distribution market before eventually landing at Wrekin Hill (the film hits home video 5/5). Perhaps too loyal to the original 1888 Swedish stage tragedy, Ullmann's version confines the three-character drama to a secluded estate over the course of one Midsummer's...
- 5/4/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Why does Cannes, whose astute audiences are primed to welcome the most minimalist of dirges and the artiest of art films, stir more jeers, boos and walkouts than any other festival? From Antonioni to Lynch, and for many reasons related to time and place, here are 10 memorably hated Cannes premieres that went on to achieve canon or cult status, or even won the Palme d'Or. 1. Carl Theodor Dreyer's "Gertrud" (1964), a psychological mood piece about a wealthy, bored aristocratic woman who takes up an affair with a young musician. Deemed a stuffy study of sofas and pianos -- and an essay in how long a director can stretch a take -- the film was loathed at Cannes. But it was second to Godard's "Band of Outsiders" on Cahiers du Cinema's top 10 of 1964, and is now regarded as one of Dreyer's late-career greats. Nina Pens Rode gives a remarkably restrained performance as the title character,...
- 4/17/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Final paintings, final books, and final films are often read into because of their terminating chronology. Did the artist know they were close to death? How is that shown in the art? When he died in 1968, Carl Dreyer had many projects lined up, including Medea and Jesus of Nazareth, which he had been preparing and researching for years, to the point of learning Hebrew. His last films, Ordet in 1955 and Gertrud in 1964, embody the exacting visual style he forged during his fifty-five-year career—a style he explicated in short essays written ten and twenty years before Gertrud. Being a director who worked with and without sound, we should trust Dreyer when he says film “first and foremost directs itself to the eye, and that the picture far, far more easily than the spoken word penetrates deeply into a spectator’s consciousness.”1 Gerturd is as much about the eponymous character's face...
- 12/18/2014
- by Greg Gerke
- MUBI
What a shame that Jessica Chastain's fiery turn in "Miss Julie" will likely go unnoticed by Academy voters. Director Liv Ullmann's complex take on August Strindberg's early feminist play may be too stagey for some, but this is Best Actress material for Chastain, who injects vitality into a repressed 19th-century woman who falls from grace. Chastain's electrifying performance places among the great female dramatic turns in a literary tragedy, from Nina Pens Rode in "Gertrud" to Nastassja Kinski in "Tess" and Isabelle Huppert in "Madame Bovary." So why is no one talking about it? "Miss Julie" premiered at Tiff 2014 to unenthusiastic response and remained at-large on the distribution market before eventually landing at Wrekin Hill. Perhaps too loyal to the original 1888 Swedish stage tragedy, Ullmann's version confines the three-character drama to a secluded estate over the course of one Midsummer's Eve, a dusk-til-dawn period...
- 11/17/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Looking for any excuse, Landon Palmer and Scott Beggs are using the 2012 Sight & Sound poll results as a reason to take different angles on the best movies of all time. Every week, they’ll discuss another entry in the list, dissecting old favorites from odd angles, discovering movies they haven’t seen before and asking you to join in on the conversation. Of course it helps if you’ve seen the movie because there will be plenty of spoilers. This week, they look back on a life in love and celebrate a simpler (but often more difficult) form of filmmaking from Carl Theodor Dreyer. In the #43 (tied) movie on the list, a marriage falls apart, leading a woman to seek a lover and, above all else, love. But why is it one of the best movies of all time? Landon: So I’d like to jump in with a reaction to Gertrud more than a specific question...
- 3/13/2014
- by FSR Staff
- FilmSchoolRejects.com
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
I think the only thing to really say about today's unveiling of Sight & Sound's latest installment in their decennial list of the 50 greatest films of all time is to acknowledge it as a list of truly great films. The hubbub over the ordering is a little like pissing in the wind as the major headline is Alfred Hitchcock's Vertigo capsizing the 50 year reign of Orson Welles' Citizen Kane, which has been the number one film on the list since it began in 1952. So Vertigo sits at number one, climbing steadily in the eyes of the participants of the every-ten-year poll made up of 846 critics, programmers, academics and distributors. A secondary poll of 358 film directors from all over the world -- including Martin Scorsese, Quentin Tarantino, Francis Ford Coppola, Woody Allen and Mike Leigh -- and they didn't go with Kane either, or Vertigo for that matter. Nope, Yasujiro Ozu's...
- 8/1/2012
- by Brad Brevet
- Rope of Silicon
I fondly remember the glee I had at xeroxing from library archives a good chunk of Sight & Sound’s top favorite list back in 92′ when cinephilia officially took over me and with further research I learned that any year that ends in a “2″ meant that it was time to revisit the official order. Over the past three polls (80′s, 90′s and 00′s) Alfred Hitchcock’s 1958 classic progressively moved up the rankings making its way as announced today to the number one spot dislodging Orson Welles’ Citizen Kane. My prediction for 2022: Another Brit filmmaker will continue to make strides in the top ten list – Stanley Kubrick’s 2001: A Space Odyssey should move up several spots.
Based on 846 critics’ top-ten lists and a Directors’ poll of 358 entries it is Vertigo who ends a five decade reign of the iconic snow globe and the name “Rosebud”. If anythin the list inspires a long-lasting debate,...
Based on 846 critics’ top-ten lists and a Directors’ poll of 358 entries it is Vertigo who ends a five decade reign of the iconic snow globe and the name “Rosebud”. If anythin the list inspires a long-lasting debate,...
- 8/1/2012
- by Eric Lavallee
- IONCINEMA.com
Every 10 years the British film magazine Sight & Sound draws up a list of the 50 Greatest Films Ever Made. It is a list that is held with very high regard in the industry as it compiles and compares lists from esteemed critics and filmmakers from around the world. Every time that the list has been compiled since 1962, Orson Welles’ perennial classic Citizen Kane has topped the poll. But now its reign as “the Greatest Film Ever Made” has been toppled by none other than Alfred Hitchcock.
The official list, drawn up by 846 academics/critics (including Roger Ebert), names Vertigo, the 1958 classic thriller from Alfred Hitchock, as the greatest film ever made with Citizen Kane in second. When the list was compiled in 2002, Vertigo missed out on the top spot by 5 votes, which marked a change in film tastes and the arrival of a new wave of film critics. In this poll,...
The official list, drawn up by 846 academics/critics (including Roger Ebert), names Vertigo, the 1958 classic thriller from Alfred Hitchock, as the greatest film ever made with Citizen Kane in second. When the list was compiled in 2002, Vertigo missed out on the top spot by 5 votes, which marked a change in film tastes and the arrival of a new wave of film critics. In this poll,...
- 8/1/2012
- by Will Chadwick
- We Got This Covered
I saw Peter Bogdanovich's At Long Last Love (1975) at Anthology Film Archives as part of its Hollywood Musicals of the 1970s series and had that uncanny experience of falling in love with a movie that everyone else seems to hate. The movie is almost universally panned. Its Tomatometer score is just 10%, Pauline Kael called it "stillborn" and "vapid," and even my favorite critic, Jonathan Rosenbaum, called it "probably Peter Bogdanovich's worst film." But I couldn't help myself: I loved it.
Some people aren't interested in film criticism because opinions are subjective. To a certain extent, we'll always be imposing our own values onto works of art rather than drawing out the ideas and attitudes that we suspect rightfully belong there. But since our emotional response to a film often derives—even subconsciously—from our interpretation of it, our evaluations are trapped in a circular loop, since we're judging movies...
Some people aren't interested in film criticism because opinions are subjective. To a certain extent, we'll always be imposing our own values onto works of art rather than drawing out the ideas and attitudes that we suspect rightfully belong there. But since our emotional response to a film often derives—even subconsciously—from our interpretation of it, our evaluations are trapped in a circular loop, since we're judging movies...
- 7/19/2011
- MUBI
Cinematographer with a cool, austere style who linked the eras of Dreyer and Von Trier
If the Danish cinematographer Henning Bendtsen, who has died aged 85, had shot nothing else but Carl Dreyer's final masterpieces, Ordet (The Word, 1955) and Gertrud (1964), he would have been entitled to a place in the pantheon of cinema. Although he shot 57 features, it was his collaboration with the saintly Dreyer on these two films which conferred an enviable eminence on him.
"It turned out to be a very harmonious collaboration between Dreyer and me, which always will be the most valuable association I have experienced within my profession," Bendtsen recalled. "We quickly connected with each other, both as professionals and as humans."
As can be seen in Ordet and Gertrud, it is clear that Bendtsen understood what Dreyer meant by "realised mysticism". The contrasting tonality of lighting both reflects and creates the moods within the same frame,...
If the Danish cinematographer Henning Bendtsen, who has died aged 85, had shot nothing else but Carl Dreyer's final masterpieces, Ordet (The Word, 1955) and Gertrud (1964), he would have been entitled to a place in the pantheon of cinema. Although he shot 57 features, it was his collaboration with the saintly Dreyer on these two films which conferred an enviable eminence on him.
"It turned out to be a very harmonious collaboration between Dreyer and me, which always will be the most valuable association I have experienced within my profession," Bendtsen recalled. "We quickly connected with each other, both as professionals and as humans."
As can be seen in Ordet and Gertrud, it is clear that Bendtsen understood what Dreyer meant by "realised mysticism". The contrasting tonality of lighting both reflects and creates the moods within the same frame,...
- 2/18/2011
- by Ronald Bergan
- The Guardian - Film News
Bendtsen and Dreyer on the set of Gertrud (Dfi); Ordet
"Danish cinematographer Henning Bendtsen — whose career stretched from the 1940s to 1991, with his final film, Lars von Trier's Europa — has died at the age of 85," reports Criterion. "Bendtsen is best known, perhaps, for the transcendent images he created with director Carl Theodor Dreyer on the films Ordet (1955) and Gertrud (1964). For the former, he devised what we believe to be one of the greatest shots in cinema history: a late-film, almost three-minute pan around the possibly mad character Johannes and his niece, Marren, fearful of her mother's death." And Criterion posts the clip. Bendtsen, by the way, supervised the digital transfers you see in Criterion's editions of Day of Wrath, Ordet and Gertrud.
"Forging a very direct link to Dreyer, von Trier hired Henning Bendtsen as Dp on parts of Epidemic, a collaboration that continued on Europa," writes Peter Scheperlern Carl Th Dreyer site.
"Danish cinematographer Henning Bendtsen — whose career stretched from the 1940s to 1991, with his final film, Lars von Trier's Europa — has died at the age of 85," reports Criterion. "Bendtsen is best known, perhaps, for the transcendent images he created with director Carl Theodor Dreyer on the films Ordet (1955) and Gertrud (1964). For the former, he devised what we believe to be one of the greatest shots in cinema history: a late-film, almost three-minute pan around the possibly mad character Johannes and his niece, Marren, fearful of her mother's death." And Criterion posts the clip. Bendtsen, by the way, supervised the digital transfers you see in Criterion's editions of Day of Wrath, Ordet and Gertrud.
"Forging a very direct link to Dreyer, von Trier hired Henning Bendtsen as Dp on parts of Epidemic, a collaboration that continued on Europa," writes Peter Scheperlern Carl Th Dreyer site.
- 2/17/2011
- MUBI
The Carl Theodor Dreyer retrospective at the Pacific Film Archive in Berkeley has been going on since the beginning of the month and runs through December 12. Time to catch up with Kelly Vance's piece for the East Bay Express: "The Danish writer-director (1889-1968) is responsible for some of the boldest, most emotionally powerful visuals in history as well as for moments of vulnerable, unforced tranquility. His is the cinema of painful redemption simultaneously co-existing with hopeful transcendence — and of the irresistible image versus the almighty word.... [S]enior film curator Susan Oxtoby has gathered together all fourteen of the filmmaker's surviving features, beginning with The President (1918) and ending with 1964's Gertrud — plus the 1948 short, They Caught the Ferry. Centerpiece of the series is, naturally, The Passion of Joan of Arc, Dreyer's most notorious creation and one of the most magnificent, and most emotionally wrenching, experiences in screen history."...
- 11/20/2010
- MUBI
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
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