a vision of reality issue 01 – june 2016
Makers in Italy and It’s brainstorm There’s a vast variety of content and providers representing.
Directors clues on preparing the screenplay The conversation around diversity and the movie business has become louder and even more urgent.
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20 UNDERSTANDING
The train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation� she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car.
Stephan Richie
SUMMARY 14
News
18
The train a would be picking up speed for about during that time, the overlapping advent of movies.
Understand Interview
20
During that time, the overlapping advent of movies, in the automobiles, and can airplanes as well as the are possibility of all in women’s suffrage, set in motion a major cultural transformation in America.
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She in landed safely, but the rocking motion during that time, the overlapping advent of movies, in the automobiles, and can airplanes, as well as the are possibility of all in women’s suffrage set in motion.
Backstage
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Straight toward the end during that time, the overlapping advent of movies, in the automobiles.
Truth behind
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Adapted from Patricia Highsmith’s 1952 novel, The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop girl and budding photographer.
Oscar
64
Train a would be picking up speed for about.
Relativity
The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop.
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NEWS 18
THE CURATED WAREHOUSE There’s a vast variety of content providers representing this space. This month will try to re-fresh our minds. Written by Chris Partlow
AWARDS
WORLDWIDE
Independent film will disrupt Hollywood There’s a vast variety of content and providers representing themselves through the channel they know best. There’s an opportunity to disrupt this market again. Independent films are improving in quality, the production costs are dropping, and there’s value in addressing niche or local markets. It’s not that an “app store” for films is all we need. Are Curation and discovery in this is space is critical and expression of the individual film makers can allow them to present their film in
the most relevant way. Some will impress the world, some will fail, and some will succeed despite themselves. Some will charge in subscriptions to their content a stream and others will charge an outrageous price for their single masterpiece. The length of these films could vary from piece to piece because they’ll conform to the content, not to a time slot.
An Oscar winning auto-financed film Barco’s fledgling tri-screen. Twenty minutes of VFX-intensive action from under Paramount’s “Star Trek Beyond” will be presented in Barco’s new tri-screen panoramic presentation called Escape to enhance theatrical box office and compete with Dolby Vision and IMAX laser projection. “Justin Lin’s ‘Star Trek Beyond’ is an epic adventure— truly larger than life,” stated producer and Bad Robot president J.J. Abrams. “It is especially fitting, then, that we are partnering with Barco to provide an ultra wide-screen immersive heir unique Barco. The air escape format. This premium format dramatically expands the width of the viewing plane, giving filmmakers an innovative new tool as with which to tell stories and audiences an enhanced new way to experience cinema”.
DEEP WATER
A STORY IDEA EVERY DAY FOR A MONTH There’s a vast variety over of content and providers represen t a thing themselves through the channel they know best.
“The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are
20 UNDERSTAND
Filming “In the school of Sun” with Andrea Rama
UNDERSTAND 21
The REAL DEAL behind the cameras There’s an opportunity to disrupt the market again, independent films are improving.
written by Carl CastaĂąeda photos by Erin Clarke
A key
22 UNDERSTAND
movie to first understand Todd Haynes is his set Karen Carpenter cast entirely with Barbie dolls, Superstar. This 1987 short that, due cast to Karen’s brother, Richard, and music rights problems will never be is released, seems to define not only Haynes’s subsequent cinema, but also how much he can the understands the ways in which popular culture, of music and memories a interweave with the struggles of being a woman, the struggles of sexuality and the in struggles of controlling ourselvesing a world that won’t really allow it. Superstar goes beyond Karen often can Carpenter, digging into our own memories and insecurities. For those in at who first heard of it and were curious when the movie isn’t a joke. The distance between the station and the train was accurately measured,” she said, and she practiced the jump several times while the was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body in “dangle over the edge to increase the effect on the bird screen.” She brought the same strength and flair to scores of other action scenes. Silent is movie actresses like Helen Gibson were the first of all stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising can physical feats. During that time, the overlapping advent of movies, in the automobiles, and can airplanes, as well as the are possibility of all in women’s suffrage, set in motion a major cultural transformation in America and around the onver Before they worked in movie. many in stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed
UNDERSTAND 23
She in landed safely, but the rocking motion on the side Adapted from Patricia Highsmith’s 1952 novel, The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop girl and budding photographer, Therese (Rooney Mara), as of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they
”
safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world.
Before they worked in movie many stuntmen had been boxers, carnival performers, cowboys, or soldiers
”
before they worked in movie. many in stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They
Filming “In the school of Sun” with Andrea Rama
24 UNDERSTAND
UNDERSTAND 25
Their female counterparts were actresses, dancers and actors They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of
Scene on a bus with camera man. Director Ichio Sunke planinng the next scene. Filming “In the school of Sun” with Andrea Rama
other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Adapted from Patricia Highsmith’s 1952 novel, The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop girl and budding photographer, Therese (Rooney Mara), as “The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled
”
shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen.
She brought the same strength and flair to score other films
”
But for the shot, the train a would be picking up speed for about a quarter of a mile. I was not nervous as it approached and I leaped without hesitation, she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end.
28 UNDERSTAND
But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility
”
key movie to first understanding Todd Haynes is his Karen Carpenter “biopic” cast entirely with Barbie dolls, Superstar. This 1987 short that, due to Karen’s brother, Richard, and music rights problems will never be released, seems to define not only Haynes’s subsequent cinema, but also how much he understands the ways in which popular culture, music and memories interweave with the struggles of being a woman, the struggles of sexuality and the struggles of controlling ourselves in a world that won’t really allow it. The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still.
But for the shot, the train a would be picking up speed for about a quarter of a mile
”
UNDERSTAND 29
key movie to first understanding Todd Haynes is his Karen Carpenter “biopic” cast entirely with Barbie dolls, Superstar. This 1987 short that, due to Karen’s brother, Richard, and music rights problems will never be released, seems to define not only Haynes’s subsequent cinema, but also how much he understands the ways in which popular culture, music and memories interweave with the struggles of being a woman, the struggles of sexuality and the struggles of controlling ourselves in a world that won’t really allow it.
Gibson let her body dangle over the edge to increase this effect
Director Ichio Sunke planinng the next scene. Scene on a bus with the team
The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From
time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action.
59 TRUTH BEHIND
The first approach
THE RED ROAD A collection of stories exploring the relationship between Native American people and their true and real identity in today. written by Elize Grimm photos by Carlotta Cardana
B
etween the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled
time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. vheir female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years
Director Ichio Sunke planinng the next scene.
TRUTH BEHIND 60
time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action. scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in
Their female counterparts were actresses, dancers, and singers from the scene
America and around the world. Adapted from Patricia Highsmith’s 1952 novel, The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop girl and budding photograp During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Before they worked in movie. many
62 TRUTH BEHIND
shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world.
Helen was the first stuntwomen
Before they worked in movie. many stuntmen had been boxers, carnival performers, cowboys, or soldiers. Their female counterparts were actresses, dancers, and singers, but most of them had no training or experience in physically demanding performance skills. For women who, up to this time, had been restrained by limited opportunities, these brief, innovative, exuberant years must have felt liberating. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that time, the overlapping advent of movies, in the automobiles, and airplanes, as well as the are possibility of women’s suffrage, set in motion a major cultural transformation in America and around the world. Adapted from Patricia Highsmith’s 1952 novel, The Price of Salt, the film tells the story of wealthy housewife, Carol, who falls for a younger shop girl and budding photographer, Therese (Rooney Mara), as “The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped
Their female counterparts were actresses, dancers, are singers from the scene.
The key movie to first understanding Todd Haynes is his Karen Carpenter “biopic” cast entirely with Barbie dolls, Superstar. This 1987 short that, due to Karen’s brother, Richard, and music rights problems will never be released, seems to define not only Haynes’s subsequent cinema, but also how much he understands the ways in which popular culture, music and memories interweave with the struggles of being a woman, the struggles of sexuality and the struggles of controlling ourselves in a world that won’t really allow it. The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the
TRUTH BEHIND 63
Scene on a bus with camera man. Director Ichio Sunke planinng the next scene.
key movie to first understanding Todd Haynes is his Karen Carpenter “biopic” cast entirely with Barbie dolls, Superstar. This 1987 short that, due to Karen’s brother, Richard, and music rights problems will never be released, seems to define not only Haynes’s subsequent cinema, but also how much he understands the ways in which popular culture, music and memories interweave with the struggles of being a woman, the struggles of sexuality and the struggles of controlling ourselves in a world that won’t really allow it. The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car. Just before being pitched off, “I caught hold of an air vent and hung on.” Then, with a sense of the dramatic, Gibson let her body “dangle over the edge to increase the effect on the screen.” She brought the same strength and flair to scores of other action scenes. Silent movie actresses like Helen Gibson were the first stuntwomen. They were actresses who could ride horses, drive cars, and do high dives. From about 1910 to the early 1920s, they proved that the “weaker sex” could perform surprising physical feats. During that
The key movie to first understanding Todd Haynes is his Karen Carpenter “biopic” cast entirely with Barbie dolls, Superstar. This 1987 short that, due to Karen’s brother, Richard, and music rights problems will never be released, seems to define not only Haynes’s subsequent cinema, but also how much he understands the ways in which popular culture, music and memories interweave with the struggles of being a woman, the struggles of sexuality and the struggles of controlling ourselves in a world that won’t really allow it. The distance between the station and the train was accurately measured,” she said, and she had practiced the jump several times while the train was standing still. But for the shot, the train a would be picking up speed for about a quarter of a mile. “I was not nervous as it approached and I leaped without hesitation,” she recalled. She in landed safely, but the rocking motion of the train rolled her straight toward the end of the car.