Slowly but surely more and more filmmakers are getting involved in social media in a major way. Lexi Alexander is probably the biggest name I can think of that is a filmmaker and is actively talking about various issues of filmmaking not just criticism or “DSLR” filmmaking.
I’m both surprised and not surprised in anyway that it’s taken so long for major film industry folks to become active in social media. And I’m not talking about people who only stick around when they have a new film coming out. I’m talking about people who actively interact with other filmmakers mainly talking about below the line and the film critic/cinephile community.
It’s interesting that for below the line folks have had no problem adopting social media. Various tumblr and twitter feeds have embraced it. Here are a few.
I highly recommend checking all of these fine folks out.
This is true.
for blithers' tags:
in a vaguely sexual situation
Steve you are such a prude.
I still need to see this film.
Maude White is a paper cutting artist living in Buffalo, NY. She loves the great strength, yet delicacy of paper. Her work is done on the macro as well as the micro level. Every cut is exact and meaningful. She enjoys playing with positive and negative space to create fantastic scenes and stories. She considers herself a craftsperson and has a deep respect for the paper she transforms. In pursuing her work, she hopes to make visible to others the immense world of possibilities that every piece of paper holds.
September 5th-October 25th, 2014
Opening September 5th, 2014 6-9pm
White’s show is the fourth in the 12 x 14 series at WNYBAC, which features 5 artists over the course of twelve months; Maude will also host a free collaborative event that will give insight into her process on Saturday September 20th, 2014 from 12-5pm.
”When I cut paper, I feel as if I am peeling back the outer, superficial layer of our vision to reveal the secret space beneath. With paper cutting there are so many opportunities to create negative space that tells its own story. Letting the observer become present in the piece allows him or her to look through it. I like the idea of the stark contrast between the black and white paper, and the cut nature of the work makes my art more three-dimensional than paint on canvas. ”
We [Fraction and his wife, Kelly Sue DeConnick] were pregnant at the time, and while I was out there I started to realize that if I had a daughter, there would come a day when I would have to apologize to her for my profession. I would have to apologize for the way it treats and speaks to women readers, and the way it treats its female characters.
I knew that if we had a daughter, because I know my wife and I know the kind of girl she wants to raise and I know the kind of girl I want to raise, she was going to look at what I did for a living and want to know how the fuck I could stomach it. How could I sell her out like that?” Fraction continued. “That conversation is still coming, and I’m bracing for it in the way that some dads brace for their daughter’s first date or boyfriend. I became acutely aware that I had sort of done that thing that lots of privileged hetero cisgendered white dudes do. ‘I’m cool with women, and that’s enough.’ It’s not enough. It’s embarrassing to say, because we somehow have attached shame to learning and evolving our opinions, culturally, but I became aware that there was a deficiency of and to women in my work, and all I could do at that moment was take care of my side of the street."
Designed by Midnight Marauder.
Taxi Driver is a very special case: it’s a film that was made because the people involved all made large financial sacrifices and stuck to them for a long time. The entire above-the-line cost for Scorsese, De Niro, Michael and Julia Phillips and Tony Bill, Peter Boyle, Jodie Foster, and myself was probably around $150,000; people were doing it for next to nothing. We were all young enough to want to do something that will last. De Niro told me, when we were talking about whether the film would make any money, that he felt it was a film people would be watching fifty years from now, and that whether everybody watched it next year wasn’t important. That’s how we came to it, and that’s why we didn’t make any compromises; we figured if we’re going to compromise on money, we’re certainly not going to compromise on anything else. There’s nothing in the film that was put there at the studio’s insistence. There are things we disagree about, things I would have done differently. —Paul Schrader interviewed by Richard Thompson
For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going: