It is time for essential readings again and let us give you the highlights on cinema for first week of September.
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High Life’s Noel Vera defines the meaning of science fiction movies through his list:
Real science fiction involves (quoting Brian Aldiss, who attempts to describe the literature): “the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mould.”* A jawbreaking mouthful, but should also serve as a rough rule for films.
No Film School’s Robert Hardy list down the 5 psychological mistakes that beginning filmmakers make and how to avoid them:
Like most endeavors in life, particularly the artistic ones, success in filmmaking is tied closely with whether or not we’re able to conquer our fears and doubts. It may sound corny and trite, but when it comes to creating work that we are proud of on a consistent basis, more often than not, we are our own worst enemies.
The Film Experience’s Nathaniel Rogers pays tribute and goodbye to the Master of Horror, Wes Craven:
It’s not easy writing about the passing of Wes Craven. The director who was synonymous with the horror genre, and in particular the slasher franchises A Nightmare on Elm Street and Scream, died on Sunday at age 76 from brain cancer after having battled ill health for several years and the news hit like a stab to the chest. His three-year illness likely explains why he hadn’t directed a film since 2011’s Scream 4, but it hadn’t stopped him from working altogether. He was completing a horror comic with Steve Niles called ‘Coming of Rage’, was developing a remake of his 1991 film The People Under the Stairs, and continued to executive produce MTV’s long-form TV adaptation of Scream.
The Guardian’s Alex Cox writes about the things he learned on crowdfunding movies:
Digital rewards or perks are best because there’s no physical product to create or ship. The funder downloads or streams the content, and voila! But most film backers are interested in a physical item — a DVD, a Blu-ray disc, a poster, perhaps a memorable prop from the film. For now, feature filmmaking remains a manufacturing process.
Indiewire’s Sam Adams points out why it is impossible for movies to ‘deserve’ an Oscar:
There’s something disturbing, and slightly warped, about the ease with which Oscar talk takes the place of substantive reaction: Imagine telling your high-school sweetheart, “I love you so much; you’re a lock for prom queen.” There’s a gut element to Oscar predictions, but at heart they’re strategic calculations: Can Fox Searchlight hold onto first place for five solid months? How will McQueen’s intense intellectualism play on the campaign trail? Those may be interesting questions, but they’re not important ones. The questions “12 Years a Slave” means to ask are much thornier, and a lot harder to answer.
A few more to call it a week:
- Venice Film Festival Live! Reviews, stars and more!
- Telluride Film Festival Live! Reviews and more!
- China approves release of first film about gay relationship
- 10 Best Wim Wenders films
- Should you use Dutch angles in your films?
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