Indiewire Will Host a Free Screening of the 'Margaret' Extended Cut With Kenneth Lonergan and Cast | Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews | Indiewire

JUNE 21, 2012 | BY NIGEL M SMITH

Excerpt:

"Box office be damned: After its long-delayed theatrical release, Kenneth Lonergan's "Margaret," has found a loyal, if not rabid, fanbase. That's why the Blu-ray package includes a DVD that features an 186-minute extended cut, which is due for release July 10. Thanks to Indiewire and 20th Century Fox Home Entertainment, New York "Margaret" fans can see it on the big screen the day before it hits shelves. The best part? The screening's free...."

Digital Lifescapes: Multi-Screen Video Consumers are the Most Engaged

By David H. Deans, THURSDAY, JUNE 21, 2012

Excerpt:

"Multi-Screen Video Consumers are the Most Engaged

comScore and the Coalition for Innovative Media Measurement (CIMM) released the results of their latest market study, revealing several new findings about the viewing habits of consumers who engage with media brands across multiple touch-points.

“While TV remains the leading media channel, once TV-centric media brands now engage with their consumers across a variety of digital touch-points. While this enhances the quality of brand engagement, it also increases the complexity of media planning and analysis by orders of magnitude,” said Joan FitzGerald, comScore VP of TV & Cross-Media Solutions...

Key insights from the market study include: Consumers are Engaging with Brands Across Platforms -- A study of 10 broadcast network & cable brands covering a five-week period showed that an average of 90 percent of consumers engaging with a given brand did so on TV, while 25 percent did so online and 12 percent via online video. Online Video & Multi-Screen Consumers are Most Engaged and Loyal Brand Consumers --...."

read more here:

http://blog.geoactivegroup.com/2012/06/multi-screen-video-consumers-are-most....

POV @ 25: JENNIFER FOX AND CRISTINA IBARRA ON DOC FILMMAKING AS AN ACT OF FAITH | Filmmaker Magazine

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Excerpt:

By Nick Dawson in Web Exclusives on Wednesday, June 20th, 2012

"In celebration of the 25th season of PBS’ groundbreaking documentary series POV, Filmmaker is this week running a four-part conversation series between two non-fiction directors with close ties to the show. A few weeks ago, acclaimed documentarian Jennifer Fox — whose 20-year project, My Reincarnation, kicks off the 2012 POV season this Thursday — and The Last Conquistador director Cristina Ibarra, a relative newcomer to the non-fiction scene, sat down to talk about a variety of issues that arise from their work. Despite radically different backgrounds and, at the time of the conversation, being literally continents apart — NYC resident Fox was in Amsterdam, talking to Ibarra over Skype — the two found much common ground and dug in deep in their discussion of the documentary craft.

In this penultimate part, the two directors discuss the extent to which making a non-fiction film is, by necessity, an act of faith...."

When worlds collide: an interview with Nuno Bernardo | Goji

Excerpt from original post:

"CEO of multinational production company beActive, Nuno Bernardo is an award-winning and Emmy-nominated writer/producer/publisher with several years of experience in transmedia production. He’s just launched his latest project, Collider World, an epic sci-fi story told across a range of media platforms. Goji editor Ally Millar recently caught up with Nuno to get the low-down on what’s shaping up to be a major event

Sum up Collider World in ten words or less
Nuno: A sci-fi transmedia series about six characters who jump to a post-apocalyptic future.

Tell us about Collider World

NB: Collider World is a sci-fi multi-platform project that combines TV and web series, exclusive access to pre-series storylines, mobile games and online graphic novels available on the App Store and Google Play. It focuses on the stories of six people who were mysteriously transported to a post-apocalyptic future, and their mission to get back to the present time and save mankind, and their own lives.

Why the multi-broadcast approach?

NB: Our approach to storytelling is to create a universe (or ‘storyworld’) and then divide that big story into different – but self-contained – pieces and distribute them in different media. The reason for this approach is to connect with the audience and fans on all the different medias they use during the day. The story can follow the audience and be there with the audience, whatever media they are on, be it the internet, a mobile phone or just reading a book...."

Coca-Cola Joins the Revolution in a World Where the Mob Rules | Adweek

Excerpt from Tim Nudd's Original Post on Adweek.com:

"CANNES, France—Invoking the spirit and language of modern revolution—everything from the Arab Spring to the Occupy movement—Coca-Cola's top marketer on Tuesday explained how the company is adapting to a world of change led by the "mob" of consumers who are relentlessly sharing media across their large and growing digital networks.

In a session here at the Cannes Lions festival, Joe Tripodi, chief marketing and commercial officer at Coke, said the digital tools that are revolutionizing how people communicate require a parallel revolution from marketers trying to engage them. Mostly, he said, this means developing strongly sharable pieces of communication that generate huge numbers of impressions online—and then, crucially, lead to expressions from consumers, who join the story and extend it, and then finally to transactions, in Coke's case all under the theme of happiness and optimism.

Tripodi showed several videos of Coke content from around the world that has gone viral and created "shared value" for the company, its customers and its shareholders. They included Coke's Hug Me vending machine at a university in Singapore that dispensed cans of Coke when people put their arms around it and hugged it. The video generated more than 112 million impressions in the first seven days—high-impact results with low-cost delivery. Tripodi also highlighted the Project Connect initiative in Australia, in which Coke personalized bottles by putting common first names on them...."

read more here:

http://www.adweek.com/news/advertising-branding/coca-cola-joins-revolution-wo...)

I LOVED this Doc “MARINA ABRAMOVIC: THE ARTIST IS PRESENT” | Interview with Dir. MATTHEW AKERS in Filmmaker Magazine

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Excerpt:

By Brandon Harris in Director Interviews

"The self-described “grandmother of performance art,” Marina Abramovic has for almost 40 years been one of the leading lights of a still-marginalized form. Born to ex-partisan parents in 1946, in the early days of Tito’s Yugoslavia, she is the fascinating subject of Matthew Akers‘ new documentary, Marina Abramovic: The Artist is Present. Despite her international renown, the Belgrade-born, New York-based Abramovic failed to enter the public consciousness in the States until her blockbuster 2010 MoMA retrospective. Akers’ film is a sinewy tour through Abramovic’s peculiar life and working process as she embarks upon her most high profile performance yet, one that she hopes will finally push performance art out of the margins and into the mainstream. Mixing biography, interviews and vérité, Marina Abramovic: The Artist is Present captures a snapshot of a high-art world in flux and one of its most ambitious inhabitants at the top of her form...."

Love this: Slow Analysis in THE ‘BLUE VELVET’ PROJECT, #125 | Frame by Frame via Filmmaker Magazine

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By Nicholas Rombes in Uncategorized on Monday, June 18th, 2012

"Second #5875, 97:55

André Bazin once wrote, in “The Life and Death of Superimposition” (1946), that

the fantastic in the cinema is possible only because of the irresistible realism of the photographic image. It is the image that can bring us face to face with the unreal, that can introduce the unreal into the world of the visible.

By this point in Blue Velvet, with only around 20 minutes left in the film, we might feel justified in thinking that we have figured out the geographic parameters of its narrative world. The hardware store. The hospital room. Jeffrey’s car. Jeffrey’s home....

[Over the period of one full year — three days per week — The Blue Velvet Project will seize a frame every 47 seconds of David Lynch’s classic to explore. These posts will run until second 7,200 in August 2012....]

A CALL TO PRODUCERS: INNOVATE OR DIE | Filmmaker Magazine

By Mynette Louie in News on Monday, June 18th, 2012

Excerpt

"I’m very fortunate to be friends with many accomplished independent film producers–people whose films have screened at the best festivals, won significant awards, gotten picked up by major distributors, earned healthy gross receipts, and received accolades in the mainstream press. We hang out sometimes, one-on-one or in groups, to catch each other up on our projects, share recent experiences, exchange opinions on companies and people we’ve worked with, etc. But essentially, we get together for emotional support against an industry and an economy hostile to our work. At any given time, half of us will have one foot out the door, ready to escape an occupation in which the appreciation and financial rewards we get have zero correlation with the insanely hard work we do and intense emotional stress we endure.

I was recently struck by three things I read that echoed some of these sentiments: Ted Hope’s forlorn blog post in which he catches up an old friend to where he is now, Brian Newman’s post about how YouTube stars are disrupting the old indie film model, and the Huffington Post article on Jay Van Hoy and Lars Knudsen. I deduced a common theme running through all three: innovate or die...."

original post via

filmmakermagazine.com

“PROMETHEUS” SCREENWRITER JON SPAIHTS | Filmmaker Magazine

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Excerpt:

By Scott Macaulay in Web Exclusives on Monday, June 4th, 2012

"Telling the origin story of the creature that terrified us in Alien over three decades ago, Ridley Scott’s Prometheus is one of this summer’s most hotly anticipated films. But somewhat surprisingly, the origins of the screenplay came as much from a screenwriter’s general meeting as the story material developed for that original movie. At a meeting in the offices of Scott’s production company, Scott Free, screenwriter Jon Spaihts was asked to riff on the possibilities of a film that would revisit the Alien universe. What resulted is Prometheus, with a script credited to Spaihts and Damon Lindelof. Below I ask Spaihts to tell us his own origin story — his background, how he became a professional screenwriter, about his Black List hit Passengers, and his thoughts on working in today’s Hollywood.

Filmmaker: When did you start writing screenplays? How young were you, and how did you decide that was what you wanted to do?

Spaihts: I’d wanted to write stories for a living since I was a child, and for most of my life I expected to become a novelist. But in my twenties after college I had a production company in New York City with an old college friend, and we did documentary video, largely for museums and interactive media. For the first time I held a camera, edited video, scripted, directed and shot; I learned the vocabulary of film. Almost instantly, all my writing aspirations translated from prose to screenwriting.

Filmmaker: Tell me a little bit more about your work with this production company. What kind of video did you do?

Spaihts: We did a big contract for the Museum of Natural History in New York City on a project called Gist2, which is an ice-core project..."

Read the rest here:

http://www.filmmakermagazine.com/news/2012/06/prometheus-screenwriter-jon-spa...