I’m delighted to announce that the producer and screenwriter Michael Grais (Poltergeist, Cool World etc.) will be offering a master class at SF State next February 13th-14th.
On the evening of the 13th, I will be hosting Michael in the August Coppola Theater for a discussion about his work and the state of screenwriting in Hollywood. On the 14th, Michael and I will work with a small group of students for a master class on screenwriting. The workshop is for students who sign up for my CINE 324 (01) Filmmaking Master Class only, but the event in Coppola is open.
The scholarly volume on the history of screenwriting that I am co-editing for Rutgers University Press will be published next August (2014). It is featured in the new catalogue from Rutgers, and artwork from its cover (temporarily an edited extract from my screenplay, Cutterjunk until we can find a more prestigious alternative) illustrates the cover of the catalogue. You can pre-order it now, so take a look.
Oh – and Happy Thanksgiving to all!
I just received the files for the Rutgers UP Screenwriting volume from the copy editor. The joys of checking text begin…
And, to make it much more fun, my landlord is noisily renovating the apartment above me. I think a rapid change of scene is in order to maintain sanity and preserve my murder virginity for another day. Onwards…
Dear esteemed reader, just a quick note to say that I know I’ve been off the blog for a while. There is a very good reason for this and I’ll be positing about it soon. Thanks for continuing to give us an eye and more will follow.
Thanks to Chris Jones’ blog for this link to a fascinating document. A transcript of a story conference between Lucas, Spielberg and Kasdan during prep. for Raiders of the Lost Ark.
Features Nominated for Best Picture and/or Outstanding Cinematography by the AMPAS and ASC along with the Directors, DPs, and formats they employed
- Amour, Director Michael Haneke, DP Darius Khondji Camera/Format: Arri Alexa, ARRIRAW, Cooke Spherical
- Argo, Director Ben Affleck, DP Rodrigo Prieto, Camera ARRI Alexa, ARRIRAW, with some 35mm, 16mm, and 8mm mixed in
- Beasts of the Southern Wild, Director Bhen Zeitlin, DP Ben Richardson
Camera: ARRI 16SR3, S16 Kodak Film, Zeiss Lenses, Spherical
- Django Unchained, Director Quentin Tarantino, DP Robert Richardson, ASC, Camera/Format Panavision on 35mm Kodak Film, Anamorphic
- Les Misérables, Director Tom Hooper, DP Danny Cohen Camera/Format, Arricam, S35mm Kodak Film, Spherical
- Life of Pi, Director Ang Lee, DP Claudio Miranda, ASC, Head of Stereography Graham D. Clark, (DCS Member), Stereographer, Brian Gardner, Camera/Format Arri Alexa, PACE Fusion 3-D
- Lincoln, Director Steven Spielberg., DP Janusz Kaminski, Camera/Format: Panavision on S35mm Kodak Film
- Silver Linings Playbook, Director David O. Russell, DP Masanobu Takayanagi, Camera/Format, Arricam, S35mm Kodak Film, Spherical
- Zero Dark Thirty, Director Kathryn Bigelow, DP Greig Fraser, Camera/Format: Arri Alexa, ARRIRAW, Cooke Spherical
- Anna Karenina, Director Joe Wright, DP Seamus McGarvey Camera/Format Panavision on 35mm Kodak Film, Anamorphic
- Skyfall, Director Sam Mendes, DP Roger Deakins, ASC, BSC, Camer/Format: ARRI Alexa, ARRIRAW, with some RED Epic REDcode RAW mixed in for 2nd Unit Action Shots.
Compiled by James Mathers with data collected from IMDBpro
Marc Bernardin’s blog has photos of what appears to be Harrison Ford’s copy of the screenplay for Raiders of the Lost Ark, complete with his notes. Makes interesting reading and shows how actors respond to lines on the page. What works in the mouth and what works on the page are not necessarily the same!
Under this headline, Manohla Dargis in the NY Times praises Travis Mathews and James Franco’s film.
Independent Voices Drown Out the Buzz: Highlights of the Sundance Film Festival
“One of the sharpest, best surprises of the festival, which ends Sunday, “Interior. Leather Bar.” is a serious yet playful hourlong deconstruction of the representation of homosexuality as viewed through the prism of “Cruising,”William Friedkin’s 1980 film about an undercover cop, played by a supremely jittery Al Pacino, searching for a killer of gay men. “Interior,” directed by Mr. Franco and Travis Mathews, uses as its conceptual jumping-off point a lost 40-minute segment of “Cruising” set in a gay leather bar that Mr. Friedkin has said he had to cut to avoid an X rating. “Interior” primarily turns on the on-set experience of Val Lauren, an actor who appears as himself and as an idea of Mr. Pacino’s, while performing in a re-creation of the missing “Cruising” material.”
Congrats to them and all who worked on the movie.
Here’s the opening:
“San Francisco-based gay filmmaker Travis Mathews built his reputation as one of the leading figures in the latest new wave of gay independent cinema on the back of a series of award-winning intimate, confessional documentary films about young homosexual men: In Their Room. His first narrative feature, I Want Your Love, explored gay friends negotiating their way towards and through sexual relationships and featured unsimulated sex. His new film, Interior. Leather Bar., co-directed with the actor James Franco, is just as honest in its depictions. This film within a film begins with a re-imagining of the lost forty minutes of William Friedkin’s controversial 1980 thriller Cruising and expands to engage with wider issues of creative freedom explored in frank “behind the scenes” sequences with cast and crew.
Filmmaker spoke to Travis while he was packing for an early morning trip to the Sundance Film Festival…”
Follow the link to Filmmaker for more: