Amy Heckerling - News Poster


Lina Wertmuller Kino Lorber Blu-ray Releases

“A Dash Of Unusual Brilliance Behind A Face With White Glasses”

By Raymond Benson

The somewhat snobbish critic John Simon has said that the only “great” female film directors are Leni Riefenstahl and Lina Wertmüller. I’m sure we can all take issue with such a sexist comment, but he is correct that both women were indeed “great,” even though the former is known for Nazi propaganda films of the 1930s. Wertmüller, on the other hand, made different kinds of scandalous pictures—but at least ones that were, and still are, entertaining. (They also sometimes had whimsically long titles, such as The End of the World in Our Usual Bed on a Night Full of Rain.)

In the early to mid-1970s, Wertmüller was the face of a daring new Italian cinema. When her movies were imported to America and the U.K, she was dubbed the “Female Fellini.” In fact,
See full article at CinemaRetro »

Re-Thinking the Canon

Monsoon Wedding

My recent tweet storm about the need to re-think the (overwhelmingly white and male) canon led The Guardian to invite me to elaborate on my thoughts. They’ve used my piece as an introduction for a feature that asks writers, directors, producers, actresses, and other women in the industry to imagine a new, more inclusive canon.

The Guardian sourced contributions from women like Lynne Ramsay, Gurinder Chadha, and Amma Asante, whose respective picks are Claire Denis’ “Beau Travail,” Mira Nair’s “Monsoon Wedding,” and Barbra Steisand’s “Yentl.” This is what the canon looks like when women have a voice.

Head over to The Guardian to check out the feature. I’m really excited about how it turned out, but I’m even more excited by the reaction it’s causing. This was intended to be a conversation-starter, and people are talking. I’m receiving lots of tweets about what the canon could and should look like.

Here are some of the suggestions:

The Piano” — Directed by Jane Campion

Pariah” — Directed by Dee Rees

Born in Flames” — Directed by Lizzie Borden

Clueless” — Directed by Amy Heckerling

“Girlhood” — Directed by Céline Sciamma

“Eve’s Bayou” — Directed by Kasi Lemmons

“Raw” — Directed by Julia Ducournau

Middle of Nowhere” — Directed by Ava DuVernay

Black Girl” — Directed by Ousmane Sembene

Strange Days” — Directed by Kathryn Bigelow

The Elements trilogy (“Earth,” “Fire,” and “Water”) — Directed by Deepa Mehta

I’d love to hear from more people and to expand this important list. Please tweet me your picks @melsil. As more titles get added we’ll compile them and make a permanent home for this radical new canon, a celebration of the films that have been undervalued for far too long.

Re-Thinking the Canon was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Alicia Silverstone Rewears Her Clueless Character Cher's Iconic Look for Lip Sync Battle

Alicia Silverstone Rewears Her Clueless Character Cher's Iconic Look for Lip Sync Battle
Alicia Silverstone is ready to revisit the halls of Bronson Alcott High School.

The 41-year-old actress has once again donned her Clueless character Cher Horowitz’s famous yellow plaid mini-skirt and blazer outfit, posing during a taping of Lip Sync Battle alongside Chrissy Teigen and the host’s 18-month-old daughter Luna Simone.

“How am I supposed to sleep? I think I’ve asked for 2 photos in my entire life. @AliciaSilv and Beyoncé,” Teigen, 31, tweeted Sunday alongside a photo of the trio.

Related: Jeremy Sisto Reveals Clueless Kiss with Alicia Silverstone Was a Childhood Dream Come True

While it’s unconfirmed
See full article at »

Just 4 Women-Directed Films Included in BBC’s 100 Greatest Comedies List

Amy Heckerling’s “Clueless” is one of the four women-directed films on the list

BBC Culture recently asked 253 film critics (118 women and 135 men) to identify their top 10 favorite comedies. “We urged the experts to go with their heart and pick personal favorites,” the source emphasized. “Films that are part of their lives.” After crunching the numbers and identifying the most popular selections, BBC Culture published a list called The 100 Greatest Comedies of All Time — and only four female-directed films made the cut.

Elaine May’s “A New Leaf” came in at number 90. The 1971 film follows a newly poor playboy (Walter Matthau) who decides to marry and murder a rich woman (May) to regain his wealth. At number 89 is Vera Chytilová’s 1966 film “Daisies,” about two teen pranksters (Jitka Cerhová and Ivana Karbanová).

Maren Ade’s award-winning “Toni Erdmann” placed at number 59. Last year’s hit traces the strained but loving relationship between an ambitious career woman (Sandra Hüller) and her practical joker father (Peter Simonischek). Finally, Amy Heckerling’s “Clueless” came in at number 34. The 1995 Beverly Hills-set film stars Alicia Silverstone as a rich queen bee trying to use her “popularity for a good cause.”

None of those films cracked the top 30 and only “Toni Erdmann” was released in the past 20 years. The severe lack of women is even more frustrating since many of the male directors — like Billy Wilder, Howard Hawks, Rob Reiner, and Wes Anderson — hold multiple spots on the list.

While BBC Culture didn’t provide specific criteria for what constitutes a comedy — they left that up to the critics to determine — it would have been nice to see a classic like Penny Marshall’s “Big” be included. The 1988 body swap comedy not only stars Tom Hanks in an Oscar-nominated performance, it serves as inspiration for everything from “13 Going on 30” to episodes of shows like “The Mindy Project.”

It also would have been great to see comedies that present oft-ignored stories be recognized. Nancy Meyers’ “Something’s Gotta Give” is a sexually frank rom-com about people over 50. Rachel Tunnard’s “Adult Life Skills” is about a young woman who isn’t really interested in anything but making movies that star her thumbs. Gillian Robespierre’s “Obvious Child” presents abortion as just one small part of a struggling comedian’s life. And Gurinder Chadha’s “Bend It Like Beckham” sees its heroine stuck in a culture clash between her Sikh family and her love of sports.

The inclusion of only four women in The 100 Greatest Comedies points to the (historic and present) lack of opportunity for female directors. An Mdsc Initiative study from earlier this year evaluated the 1,114 directors on the last decade’s top-grossing films and found that only four percent were female (Four really seems to be the not-so-magic number). The report concluded that there had been “no meaningful change in the prevalence of female directors” on top films. The 100 Greatest Comedies of All Time list makes that lack of progress very clear.

Just 4 Women-Directed Films Included in BBC’s 100 Greatest Comedies List was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

The 100 Greatest Comedies of All-Time, According to BBC’s Critics Poll

After polling critics from around the world for the greatest American films of all-time, BBC has now forged ahead in the attempt to get a consensus on the best comedies of all-time. After polling 253 film critics, including 118 women and 135 men, from 52 countries and six continents a simple, the list of the 100 greatest is now here.

Featuring canonical classics such as Some Like It Hot, Dr. Strangelove, Annie Hall, Duck Soup, Playtime, and more in the top 10, there’s some interesting observations looking at the rest of the list. Toni Erdmann is the most recent inclusion, while the highest Wes Anderson pick is The Royal Tenenbaums. There’s also a healthy dose of Chaplin and Lubitsch with four films each, and the recently departed Jerry Lewis has a pair of inclusions.

Check out the list below (and my ballot) and see more on their official site.

100. (tie) The King of Comedy (Martin Scorsese,
See full article at The Film Stage »

‘Dirty Dancing’ at 30: How Baby and Johnny Won Over the Skeptics

‘Dirty Dancing’ at 30: How Baby and Johnny Won Over the Skeptics
It’s been 30 years since Baby and Johnny had the time of their life, but “Dirty Dancing” remains as popular as when it opened on Aug. 21, 1987. Actually, it’s even more popular: When the ABC remake aired May 24 this year, fans immediately registered anger and/or disappointment on social media. It was a reminder that the magic of the 1987 version could not be duplicated.

The original “Dirty Dancing” was one of the summer’s biggest surprises. It was filmed on a $6 million budget and earned $213 million at the box office, plus has a long and booming afterlife in video and spinoffs.

Filming of the Vestron movie — written by Eleanor Bergstein and directed by Emile Ardolino — was done on two main locations: Lake Lure in N.C., and the Mountain Lake Lodge in Giles County, Va. Mountain Lake was responsible for many of the exterior shots. The lodge, built in the 1930s, had
See full article at Variety - Film News »

David Lynch Almost Directed ‘Fast Times at Ridgemont High,’ Reveals Cameron Crowe

  • Indiewire
David Lynch Almost Directed ‘Fast Times at Ridgemont High,’ Reveals Cameron Crowe
Fast Times at Ridgemont High” turns 35 tomorrow, a milestone Variety has marked by speaking to director Amy Heckerling and screenwriter Cameron Crowe. Among the revelations: the fact that David Lynch, who was also offered directing duties on “Return of the Jedi” at around the same time, was approached to helm the classic teen comedy. “I had a meeting with David Lynch,” says Crowe, apparently on the recommendation of Universal exec Thom Mount.

“He had a very wry smile on his face as I sat talking with him,” continues Crowe, who won an Oscar for writing “Almost Famous.” “He went and read it. We met again. He was very, very sweet about it, but slightly perplexed we thought of him. He said this was a really nice story but ‘it’s not really the
See full article at Indiewire »

How Sean Penn Saved Fast Times at Ridgemont High from Being a Disaster

  • MovieWeb
How Sean Penn Saved Fast Times at Ridgemont High from Being a Disaster
In addition to saving Brooke Shields from drowning, Jeff Spicoli also saved Fast Times at Ridgemont High. The cult classic high school movie is celebrating its 35th anniversary and writer Cameron Crowe and director Amy Heckerling have recently shared some little-known facts about the making the movie and one of them is that Sean Penn's Spicoli character saved the movie and lead to its success on home video. Another fact that was shared was that David Lynch was recommended to originally direct the comedy.

Heckerling and Crowe spoke to Variety about the making of the movie and some of the hardship that they faced. The studio didn't think that there was any money to be made from a movie about high school kids and thought that it was a complete waste of time. Fast Times at Ridgemont High initially only opened in just 200 theaters in the United States and
See full article at MovieWeb »

‘Fast Times’ at 35: Cameron Crowe, Amy Heckerling on Courting David Lynch, Sean Penn’s Method Acting, Genital Equality

‘Fast Times’ at 35: Cameron Crowe, Amy Heckerling on Courting David Lynch, Sean Penn’s Method Acting, Genital Equality
The seminal teen flick “Fast Times at Ridgemont High” is celebrating its 35th anniversary on Sunday.

Not only did the coming-of-age tale set in Southern California launch the careers of director Amy Heckerling and writer Cameron Crowe, the comedy catapulted Sean Penn, Jennifer Jason Leigh, Phoebe Cates, and Judge Reinhold into stardom.

And in 2005, “Fast Times,” which was based on Crowe’s 1981 book chronicling his adventures going undercover at a San Diego high school, was selected for preservation in the Library of Congress’ National Film Registry as being “culturally, historically, or aesthetically significant.”

Ironically, “Fast Times” had to overcome many obstacles during production and almost failed to get released.

Among the early difficulties the production encountered was finding a director for the comedy, which also featured future best actor Oscar winners Forest Whitaker and Nicolas Cage — billed as Nicolas Coppola — as well as Eric Stoltz and Anthony Edwards.

Universal executive Thom Mount surprisingly recommended David Lynch, who
See full article at Variety - Film News »

Guest Post: Plenty of Qualified Women Directors Are Ready to Fill the Ranks

Rachel Feldman

Guest Post by Rachel Feldman

If asked to imagine a film or TV director, most people conjure the image of a man. Sadly, this is true for those who work in the film and television industry as well. In fact, research from USC Annenberg’s Media, Diversity & Social Change Initiative confirms that zero percent of Hollywood executives have any women director’s names at the top of their minds. Of course, those in the know have lists that include Kathryn Bigelow, Patty Jenkins, or Ava DuVernay in features and Lesli Linka Glatter or Reed Morano in television — but there are also hundreds, if not thousands, of highly skilled women directors who have been invisible for way too long.

The statistics for women directing stagnates at four percent in feature films and at 17 percent in television, and although the 17 percent in TV may initially sound like forward momentum, when statistically analyzed it proves to be an illusory number because it doesn’t represent the number of women directing, only the number of episodes directed by women. In other words, it is often the same few women doing all the work. But the fact is that there are over 1,300 experienced women directors in the Directors Guild of America (DGA), many with decades of experience in high-quality broadcast and cable television. So why do only about 50 of these directors appear and re-appear on network hiring lists?

Last week NBC announced a new “Female Forward” program that will train 10 new women directors a year through a shadowing program. NBC President Jennifer Salke says that the pool of available directors is “too small” and she’s excited about the idea of having 30 new directors in three years. Of course it’s fantastic that NBC is going to create a program in support of women directors, but it would be a mistake not to correct an insidious false assumption that continues to undermine real progress.

Salke is by no means alone in her thinking: it is a predominate belief throughout the entire industry that one of the reasons why gender employment statistics are so low is because there just aren’t enough qualified women directors to fill the ranks. But this is patently untrue.

The fact is that NBC could have 100 highly skilled directors tomorrow. If our industry truly wants swift, equitable gender equity in the director ranks, the answer is not simply to train new directors and hope for the future. We need to find and hire the large pool of already trained, highly accomplished women directors who have been toiling in the trenches for decades. We need to make the change now.

The employment mechanism for hiring directors is, no doubt, complex. There are many levels of executives, all who need to vet a director. That’s why directors with hot credits and repped by top agents are easy to notice — and those who may not have a recent credit, or who are not represented by a high-profile agent or manager, become invisible.

Women’s careers also look different from their male counterparts’. Women often step away from thriving careers to raise children and care for family members. Add in the gender bias that makes each and every job a Sisyphean hurdle and it’s simple to see how women lose their reps and fall off rosters. But these women are indomitable. Many have thriving careers in allied fields as writers, producers, editors, ADs, or teachers. Some make independent features. All of them are eager to be making an honorable living, with goldstar health insurance, using the masterful skills they have taken a lifetime to hone.

In life, and certainly in the movie business, we are taught that we will be rewarded for tenacity and determination, but so far this has not proven true for an army of women directors.

Meryl Streep sponsors a program for mid-career women writers through New York Women in Film & Television, the Writers Guild of America has made enormous strides supporting the careers of their experienced female members with a variety of initiatives and programs, and The Ravenal Foundation and The Jerome Foundation have long supported mid-career female feature directors. But in the television director landscape the continued focus on new, untrained directors as the sole way to ameliorate a widespread problem is both an unimaginative solution and an enormous injustice to women who have already been injured by decades of gender exclusion.

DuVernay, Oprah Winfrey, and Ryan Murphy are trendsetting new formulas in hiring television directors. They understand that the status quo is not serving directors who are not white men and they are hiring both veteran directors who’ve fallen off hiring lists as well as promising talent. But a handful of progressive thinkers is not enough. The entire industry — networks, studios, producers, and agencies — must create avenues of opportunity for mid-career women directors. It may require a bit of work to discover this gold mine of talent but just below the surface are literally hundreds of brilliant women directors who deserve a break.

This past presidential election was a disgraceful example of how accomplished, highly experienced women can be disregarded. Hiding behind excuses of: “It’s our [pick one] first/second/third season,” or “We have [pick one] stunts/VFX/finicky actors/cross-boarding/a tricky tone…” is as misogynistic/patriarchal as men who think they can grab women wherever they want. We must continue to ask why men are regarded with great potential and women are seen as needing to have a continuing education. Mid-career women directors are trained to figure out what they need to tell a story and it’s high time for the film and TV machine to support and nurture this valuable resource.

Create your own programs and initiatives or search for us at The Director List and the DGA.

And here is a just-a-tip-of-the-iceberg list of experienced television directors — not intended to be exhaustive or comprehensive — to illustrate the bounty to be discovered. There are also hundreds more accomplished women in the independent world:

Victoria Hochberg, Gloria Muzio, Neema Barnette, Debbie Reinisch, Hanelle Culpepper, Martha Coolidge, Amy Heckerling, Tanya Hamilton, Tessa Blake, Kat Candler, Shannon McCormack Flynn, Ellen Pressman, Leslie Libman, Vicky Jenson, Stacy Title, Linda Feferman, Matia Karrell, Maggie Greenwald, Deborah Kampmeier, Debra Granik, Darnell Martin, Anna Foerster, Heather Cappiello, Nicole Rubio, Leslie Libman, Beth Spitalny, Daisy Von Scherler Mayer, Jan Eliasberg, Elodie Keene, Diana Valentine, Jessica Landaw, Julie Hebert, Julie Anne Robinson, Katherine Brooks, Martha Mitchell, Nicole Kassell, Nzingha Stewart, Rachel Talalay, Rose Troche, Stacey Black, Alexis Korycinski, Allison Anders, Ami Canaan Mann, Amy Redford, Anna Mastro, Anne Renton, Catherine Jelski, Claudia Weill, Dee Rees, Helen Hunt, Jessica Yu, Donna Deitch, Kasi Lemmons, Lily Mariye, So Yong Kim, Tina Mabry, Tanya Hamilton, Rachel Feldman

Rachel Feldman has directed more than 60 hours of television and is in development to direct her award-winning screenplay “Fair Fight,” a political thriller based on the life of Fair Pay activist Lilly Ledbetter. She is a former chair of the DGA Women’s Steering Committee. Go to her website for more information. #WomenCallAction

Guest Post: Plenty of Qualified Women Directors Are Ready to Fill the Ranks was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

John R. Leonetti on How ‘Fast Times at Ridgemont High’ Influenced ‘Wish Upon’

John R. Leonetti’s IMDb page is a hell of a thing. The filmmaker cut his chops as a cameraman and a cinematographer on films by Steven Spielberg, Amy Heckerling, John Frankenheimer, James Wan, Walter Hill, John Hughes, Francis Ford Coppola… The list goes on and on. This, in and of itself, would be an impressive career; but Leonetti has also helmed a number of features himself – mostly genre horror flicks (Annabelle, Mortal Kombat: Annihilation, The Butterfly Effect 2). Leonetti’s latest horror film, Wish Upon, feels like a 90s horror mash-up: two cups of Wishmaster, some chopped up …
See full article at »

“Awesome … Totally Awesome!” Fast Times At Ridgemont High Returns to Cinemas July 30th & August 2nd

“That was my skull! I’m so wasted!” For two days only — Sunday, July 30, and Wednesday, August 2 — Fathom Events and the TCM Big Screen Classics Series are hosting a cinematic class reunion like no other. Celebrating its 35th anniversary, Fast Times At Ridgemont High – director Amy Heckerling’s ode to teen life in the early Eighties – is hosting a cinematic class reunion, as the beloved film returns to movie theaters for two days only, July 30 and August 2. Presented by Fathom Events and Turner Classic Movies as part of the yearlong TCM Big Screen Classics series, the event will also include specially produced commentary by TCM Primetime Host Ben Mankiewicz before and after the feature. Join stoner dude Jeff Spicoli (Sean Penn), naïve sophomore Stacy Hamilton (Jennifer Jason Leigh), her managerial brother Brad (Judge Reinhold), the worldly Linda Barrett (Phoebe Cates), the shy Mark “Rat” Ratner (Brian Backer) and sleazy Mike
See full article at »

Alicia Silverstone on Why She’s ‘Super Proud’ of ‘Clueless’

Alicia Silverstone on Why She’s ‘Super Proud’ of ‘Clueless’
Becoming the most famous teenager in America with 1995’s “Clueless” wasn’t always easy for Alicia Silverstone.

“I was young and I thought it was really overwhelming and it was really intense,” Silverstone says in an interview this week at the Variety Studio in Cannes Lions. “I did a bunch of movies, and then nine movies later, I did ‘Clueless.’ When it’s like, ‘That’s Alicia Silverstone!,’ everywhere I went, it was a lot for a little person. But then life goes on and you figure it out.”


Ira Glass on Donald Trump, ‘Serial’ Season 3 and Why He Hates Producing Movies

Silverstone was at the annual advertising conference in the South of France, promoting her new TV series “American Women,” which will debut next year on the Paramount Network. The show is based on “Real Housewives” star Kyle Richards’ mom’s life, set in 1970s after a painful divorce. Mena Suvari plays a girlfriend who moves in with Silverstone’s character. “When I got the script, I was really excited,” Suvari says. “I always wanted to do more comedy.”

In the videos below, Silverstone offers some of her memories about working on “Clueless,” her life after the ’90s hit, and women in Hollywood.

(1) Was “Clueless” Groundbreaking?

The actress was in Paris shooting 1995 drama “The New World” when she received a fax from director Amy Heckerling, informing her that “Clueless” wouldn’t be made.

“One studio said no to it, they didn’t think anyone was interested in watching a movie about a young girl,” Silverstone recalls. “Those people now kick themselves that they were not part of that film. They were like, ‘We don’t think anybody is going to care. It’s not going to sell tickets.'”

After Fox put “Clueless” in turnaround, Scott Rudin came to the rescue, set it up at Paramount Pictures, and the movie found its way to the big screen.

(2) Life After “Clueless

“Yes, it changed my life,” Silverstone says. In the years that followed, she took a break from acting in big-screen spectacles to focus her energy on advocating for animal rights. “I sort of pushed it away and went another way. Now I realize I love both,” she says about acting and activism.

(3) Revisiting “Clueless

In May, Silverstone attended a screening of “Clueless” at the Hollywood Forever Cemetery with 400 fans. It was the first time her 6-year-old son saw the film.

“We were laying under the stars,” Silverstone says. “Seeing it on the screen like that was an incredible thing to share with my son and go, ‘Wow I’m really proud of that.’ I’m proud of all the work on the screen, all the different artists who created that. Super proud.”

(4) The “Wonder Woman” effect

Silverstone and Suvari spoke about what the success of “Wonder Woman” means for the movie business. “We have made strides, of course,” Silverstone says. “Over the years, there was ‘Mean Girls’ and ‘Clueless.’ It’s like a few steps forward and back.”

Related storiesPublicis to Exit Cannes Lions, And Wpp May Follow SuitUniversal Music's Lucian Grainge Is Named Cannes Lions' Media Person of the Year: Read His SpeechSpike Lee on Kendall Jenner Pepsi Ad: 'Black Lives Matter Is Not a Joke'
See full article at Variety - Film News »

How Kickstarter Turned Hal Hartley Into the Tech Visionary He Always Wanted to Be

  • Indiewire
How Kickstarter Turned Hal Hartley Into the Tech Visionary He Always Wanted to Be
Back in 2004, Hal Hartley directed “The Girl from Monday” and tried to launch a website where viewers could watch the film. Since the average internet speed back then was 34 Kbps — about 165 times slower than today’s 5.6 Mbps — that didn’t work so well. “The technology was still a little sticky,” Hartley said. “We ended up distributing it in a more traditional way, where I would travel all over the place with the film and do Q&As.”

With films like “Trust,” “Amateur,” and “Henry Fool,” Hartley’s movies have never been about the money — but he’s always had his eye on the bottom line. He owns 50% of every film he’s made, and constantly seeks to capitalize on technology as a way to achieve independence and financial sustainability.

Read More: Why the ‘Swiss Army Man’ Directors Backed the Psychedelic Comedy-Musical ‘Snowy Bing Bongs’

With Kickstarter, he raised more than $56,000 on DVD presales for his 2011 film, “Meanwhile,” and then raised a production budget of nearly $400,000 from 1,789 backers for his 2014 film, “Ned Rifle.” “‘Ned Rifle’ became my most successful movie to date, and I didn’t need to share that money,” he said. “It all came directly to me and the crew.”

Read More: How a Chance Encounter With Terrence Malick Turned Trey Edward Shults Into a Filmmaker

Ned Rifle” was the final installment of the Grim family trilogy, one that included “Henry Fool” in 1997 and “Fay Grim” in 2006. The Kickstarter process taught Hartley that he had loyal fans in places like Japan, Australia, Europe, and Taiwan who were invested in his work. Now he’s testing that direct connection with Kickstarter to pre-sell a Grim family box set, complete with subtitles.

“I’m going to do the box set, no matter what,” said Hartley. “I really do want to make this approach to distributing my own film viable on its own. That’s why I’m gambling with this. My gambit here is the subtitling. That’s what is expensive about the undertaking, and why I’m going after $100,000. Four foreign languages translated accurately and sensitively, and then the authoring of that onto the DVD — it gets expensive. I’m just hoping the expense is worth it because it will help films contribute a wider audience around the world.”

See MoreHal Hartley’s Grim Family: An Oral History From ‘Henry Fool’ to ‘Ned Rifle

Hartley says he’s talked with Atom Egoyan (“Sweet Hereafter,” “Exotica”) about the value of owning their work, since handling the various aspects of the business requires a full-time staff. Sustaining that support requires more work, and Hartley feels fortunate that the world of television has begun opening to him.

“Since I came back to America in 2009, I’ve worked for five years to get people interested in my TV projects – because I’ve been interested in episodic television for a long time,” he saidy. “I was also open to just being a director for hire. I saw a lot of half-hour comedy shows that were well written and said, ‘I can see myself directing that.'”

Read More: The 20 Best-Directed TV Drama Series of the 21st Century, Ranked

The veteran filmmaker got his TV break when he ran into Gregory Jacobs, his former first assistant director who had gone on to work for Steven Soderbergh and got his own television show, “Red Oaks,” on Amazon. Jacobs invited Hartley to direct an episode in season one, then half of the second season (five episodes). Starting next week, he will share season-three directing duties with David Gordon Green and Amy Heckerling.

“On my films, I’m thinking on a hundred different levels at any moment,” said Hartley. “While coming in to direct ‘Red Oaks’ — which is a script I take to very easily, it’s the kind of comedy I know how to do — what they expect of me is just to give it some character, explain to the actors the things that might not be perfectly obvious, and make the day, get all the shots. So it’s nice. I come away from a day’s work feeling good, like I’m a good skilled laborer.”

And is Hartley any closer to getting his own TV show?

“I’m developing something with Amazon. They optioned at least the pilot of my [half hour comedy] show,” said Hartley. “It’s about nuns who make beer to support themselves and they’re social activists, so they are wanted by the cops.”

Hal Hartley’s new Henry Fool Trilogy boxed set is part of Kickstarter Gold, a new initiative bringing back some of the most inventive and successful creators in Kickstarter history. Now through July 31, over 65 exceptional artists, authors, designers, musicians and makers are back as they push ideas and rewards from their past projects in bold new directions. Head here to learn more, and here to browse all the live Kickstarter Gold projects.

Related stories'Wet Hot American Summer: Fantasy Camp' Is The Roleplaying Game of Your Wet Hot DreamsNeil Patrick Harris Urges Jim Henson Fans to Support Kickstarter Campaign for New Exhibition'Hook' Prequel About Rufio Imagined as 'Moonlight' Meets 'Jurassic Park'
See full article at Indiewire »

‘Wonder Woman’ Is the Most Successful Live-Action Film Directed By a Woman — and 4 More Records It Will Break

  • Indiewire
‘Wonder Woman’ Is the Most Successful Live-Action Film Directed By a Woman — and 4 More Records It Will Break
“Blockbuster” has become the Kleenex of box-office descriptors, a bland adjective used to describe nine-figure films ranging from the obvious (“Star Wars”) to the also-ran (“The Mummy”). And then there’s the rare movie that genuinely deserves all the force and muscle that blockbusting suggests: Right now, it’s Patty Jenkins’ “Wonder Woman.”

As final numbers for the DC Comics movie from Warner Bros. come into clearer view, the “Wonder Woman”performance is better than even the most optimistic pre-opening estimates. It fell just 30 percent for its third weekend, grossing $41 million for a 17-day total of $275 million domestic, $572 million worldwide. (How good is that hold? “Guardians of the Galaxy Vol. 2” was considered above average when its third weekend saw a 47 percent drop.)

Expect the final domestic total to end up somewhere between $380 million and $400 million — although another strong weekend might send it above even that. Worldwide, it will rise above $800 million.
See full article at Indiewire »

‘Rough Night’: How Two Screenwriters Broke Boundaries to Make an R-Rated Female-Centric Comedy

  • Indiewire
‘Rough Night’: How Two Screenwriters Broke Boundaries to Make an R-Rated Female-Centric Comedy
It comes as little surprise that Lucia Aniello and Paul W. Downs are a lot of fun to be around, laughing easily and finishing each other sentences when it comes to talking about their work. And there’s a lot of work to talk about, particularly their feature film debut, the Sony comedy “Rough Night.” Aniello directed the hard-r female-centric feature from the pair’s screenplay – they’re often splitting duties this way, though Aniello emerged early on as the director – which also features Downs in a supporting role.

Read More: ‘Rough Night’: Filmmaker Lucia Aniello Breaks Into the Male-Dominated R-Rated Comedy — Watch

Written as a spec script, “Rough Night” sparked a minor bidding war in the spring of 2015 when Sony Pictures picked up their then-untitled screenplay (the film later appeared on the Black List that same year). “Rough Night” follows a motley group of old friends, reunited for
See full article at Indiewire »

‘Wonder Woman’ Rules — and While Tom Cruise is Not a Flop, He’s No Longer in Control

  • Indiewire
‘Wonder Woman’ Rules — and While Tom Cruise is Not a Flop, He’s No Longer in Control
Wonder Woman” (Warner Bros.) built on its strong opening with a better than average second-weekend hold. The Patty Jenkins-directed D.C. Comic world entry is looking at strong foreign results, but it’s the domestic take where the response is strongest.

The same can’t be said for Universal’s attempt at a new series of classic monster character movies. “The Mummy” with Tom Cruise at the lead reinforced the big story for many top studio releases this summer so far. Foreign is strong initially, but domestic is weak even by relatively modest estimates.

In an otherwise unexceptional weekend, two wide releases — “It Comes At Night” (A24) and “Megan Leavey” (Bleecker Street) — from distributors usually associated with the specialized market placed in the top 10. Neither was stellar, but added about $10 million to the total. At this point, the boost is needed.

The Top 10

1. Wonder Woman (Warner Bros.) Week 2 – Last weekend
See full article at Indiewire »

How ‘Wonder Woman’ Shattered Box Office Records

  • Indiewire
How ‘Wonder Woman’ Shattered Box Office Records
Patty Jenkins’ “Wonder Woman” (Warner Bros.) starring Gal Gadot dominated the weekend box office with a $100-million record performance that drew media hoopla as the best-ever female-directed wide release. But that achievement is not the only news out of the weekend Top Ten box office. D.C Comics’ newest entry soared on multiple levels — see below — but DreamWorks Animation’s “Captain Underpants: The First Epic Movie” (20th Century Fox) also exceeded expectations.

But one week alone won’t set the summer box office to rights. Neither of last week’s weak openers, “Pirates of the Caribbean: Dead Men Tell No Tales” (Disney) and “Baywatch” (Paramount), will have box-office legs. And the five holdovers in the bottom half of the Top Ten took in a miserable $11 million altogether.

The Top Ten

1. Wonder Woman (Warner Bros.) New – Cinemascore: A; Metacritic: 76; Est. budget: $249 million

$100,505,000 in 4,165 theaters; PTA (per theater average): $24,131; Cumulative: $100,505,000

2. Captain Underpants: The First Epic Movie
See full article at Indiewire »

22 Female Filmmakers Whose Films Grossed Over $100M

  • Indiewire
22 Female Filmmakers Whose Films Grossed Over $100M
Nora Ephron, Nancy Meyers, Amy Heckerling, and Penny Marshall lead the pack of moneymakers.

Related storiesHillary Clinton Makes Surprise Appearance at Kathryn Bigelow's Vr Event to Speak Out Against Elephant Poaching -- Tribeca 2017'Detroit' Trailer: Proof That We Really Need This Kathryn Bigelow Drama this Summer'Detroit' Trailer: Kathryn Bigelow Returns With A Visceral Exploration of the City's 1967 Uprising
See full article at Indiewire »
An error has occured. Please try again.

See also

Credited With | External Sites