Here’s a look at various filming locations for October 19: Filming in California TV Series: Goliath Stars: Billy Bob Thornton Location: 400 S Main St, Los Angeles (11:00 AM – 3:00 PM) TV Series: Scandal Stars: Kerry Washington Location: 530 W 7th Street, Los Angeles (7:00 AM – 11:59 PM) TV Series: Wisdom of the Crowd Stars: Jeremy Piven Location: 506 S Grand Ave, Los Angeles (4:00 AM – 1:00 PM) TV Series: Bosch Stars: Titus Welliver Location: 5353 W 3rd St, Los Angeles (7:00 AM – 3:00 PM) Filming in Illinois TV Series: Chicago Fire Stars: Taylor Kinney Location: 1252 S Oakley, Chicago TV Series: Chicago PD Stars: Jason Beghe Location: 1950 S Lumber, Chicago TV Series: Shameless Stars: William H Macy Location: multiple permits, shooting two units and moving around throughout the day: 1230 E 58th St, 3600 W Cermak, 5100 S Peoria, Chicago Filming in New York TV Series: Instinct Stars: Alan Cumming Location: Broadway Stages, Brooklyn TV Series: Law and Order: SVU Stars: Mariska Hargitay Location: Chelsea Piers, NYC TV Series: Gotham Stars: Ben McKenzie Location: Steiner Studios, Brooklyn TV Series: Billions Stars: Paul Giamatti Location: E 48th St and Lexington Ave, NYC TV Series: Deception Stars: Jack Cutmore-Scott..
The post Thursday, Oct. 19 Filming Locations for Scandal, Shameless, Woody Allen Project, & more! appeared first on On Location Vacations.
The 43rd season of Saturday Night Live is in full swing. We’ve already had three episodes with hosts Ryan Gosling, Gal Gadot and Kumail Nanjiani ushering in some laughs (be sure to check out our reviews of each new episode over here), and there’s plenty more to come throughout the rest of the year.
Throughout this season, we’ll be keeping an eye on the three new featured players making their debut on the show: Chris Redd, Heidi Gardner and Luke Null. We were introduced to them just before the new season began at the end of September, but now a series of videos from behind the scenes of the late night sketch series allows us to get to know the new Saturday Night Live cast members a little bit better.
Saturday Night Live had the three new featured players try to answer 43 questions (because it’s the 43rd season) in just one minute. It’s the fastest way for us to find out more about each of the cast members, even if they don’t get anywhere near hitting 43 answers.
Like many Saturday Night Live cast members, Redd laid his comedy roots in Chicago by doing comedy at Second City. There he was a member of the touring company and co-wrote The Art of Falling, an improv-sketch-dance hybrid show that was pulled off with Hubbard Street Dance Chicago.
Taking the advice of Judd Apatow, Redd moved to Los Angeles and in addition to his role in Popstar, he’s also appeared in the Netflix shows Love and Wet Hot American Summer: 10 Years Later. But you probably recognize him most from his scene-stealing performance as Hunter the Hungry in Popstar: Never Stop Never Stopping.
As another Midwesterner transplanted to Los Angeles, Heidi Gardner hails from the famous comedy house The Groundlings. Currently, Gardner can be heard on the animation series Supermansion on Crackle, and in her series of questions, she shows that she’s quite the sports fan. Maybe that’s something we’ll see her show off on SNL in some form.
Finally, Luke Null shows that he’s not exactly the quickest on his feet, or at least not as quick as Chris Redd and Heidi Gardner at answering these questions. But since he’s from Chicago, I’m gonna cut him a break, and I’m pulling for him to make a splash on the series, something that can be extremely difficult to do for featured players in their freshman year.
The post Watch: Meet the New Cast Members of ‘Saturday Night Live’ Season 43 appeared first on /Film.
Tired of your scripts languishing in obscurity? Then you should look into this awesome opportunity from ScreenCraft.
If you’re an aspiring screenwriter, you need to know about what ScreenCraft has been cooking up for you. For the fifth straight year, the ScreenCraft Screenwriting Fellowship is looking for talented emerging screenwriters to take part in their annual fellowship program, which not only offers mentorship opportunities but a trip to Los Angeles for meetings with and introductions to key entertainment executives, producers and representatives.
According to ScreenCraft co-founder John Rhodes, every single winner from last year have signed with managers. In fact, one of their past winners not only sold a script, but has been hired as a staff writer on a Netflix TV show. So, people, this is the real deal. Rhodes goes on to say:
We look forward to discovering emerging screenwriters whose talent and work has positioned them to make the most of this unique program.
As always, ScreenCraft has put together an exciting panel of judges to read your scripts:
Burger bait. A cavalcade of charging horses. A plastic bubble paradise. They’re all sitting on the coastline of Australia.
Every year, the two-kilometre coastal walk from Sydney’s Bondi Beach to Tamarama becomes an open-air gallery for the celebrated Sculpture by the Sea exhibition, with selected artists invited to install sculptural works along the shoreline for three weeks in spring.
Started in 1997 and now featuring 100 works every year, it’s one of Australia’s most popular, free, annual events, attracting half a million visitors in 2016. Read more…
I’ve taught at most of the major film schools in London. I also run my own documentary consultancy business (www.thedocumentaryconsultant.com) and teach short courses at the NFTS and Raindance. Increasingly I’m beginning to realise what exceptional value a great short course and/or a good documentary consultant can be – and how going to a film school may not always be the best route if you want to make documentaries that get seen. See if the following convinces you (though please note that I do not include the exemplary National Film & Television School in the film schools that I’m talking about here):
1 A Recent Graduate Of A Top London Film School Told Me: “I Learned Nothing About Documentary Making On My M.A.”
I recently led a one day documentary making seminar at a top London film school on my rules & principles of documentary-making. A recent graduate was there and I asked him what he’d learned about documentary-making on his M.A. His response shocked me: “Nothing”. He then went on to tell me about his graduation film; something didn’t seem to chime with me. I asked him a few questions about it and then suggested a fix. Immediately he got excited and agreed that for the first time his film could work. I find it shocking that so many film schools fail to teach an effective, structured approach to documentary filmmaking, and also fail to help students understand how to make documentaries that an audience might want to watch (and a broadcaster might want to show).
2 Documentary Tutors Can Give Simply Terrible Advice
A student who recently attended my Raindance Documentary Foundation Certificate told me that after struggling to find a focus and a story in her film school graduation documentary the advice that her tutor had given her was to “just keep filming and you’ll find your film.” Two years later – surprise surprise – she still hadn’t found it. In my opinion that isn’t great teaching. In fact I’d argue that it’s a terrible waste of the student’s money to be given such ill-informed advice. If medicine was taught like this then there’d be hundreds of criminal cases against medical schools. In my opinion documentary structure and its concomitant principles or rules need to be taught – and taught properly.
And need I add that it’s always better to learn from someone who has excelled in their field than someone who hasn’t.
3 Many Documentary-Making Courses Are Just Glorified Film Studies Courses
Many students of mine tell me that they learned more over two or three sessions with me as a documentary consultant or teacher than they had over their entire MA or BA. Considering you’re paying in the region of £23,000 for a degree or Masters, that’s in my opinion very poor value.
Many film schools purport to teach documentary-making but in reality teach a glorified documentary studies programme. A friend of mine teaches on a filmmaking degree at a London university and recently mentioned to another tutor how he spends three days preparing his weekly lecture. The other tutor told him that they personally never bothered preparing their lectures as all they did was show a film to the students and then got them to talk about it as: “everyone’s seen so many films in their lives that they have an innate knowledge of it.” I totally disagree with this approach to teaching – by the same logic you could argue that everyone has heard so much music in their lives that all they need to do is pick up a violin and start playing. There’s a huge amount of knowledge to learn before you can go off and make an engaging documentary and much of this is counter-intuitive and so has to be taught clearly and effectively.
4 I Learned Nothing About Documentary Making Over 3 Years At My Film School
At my film school I learned a lot about feminism, cod-psychoanalysis and post-structuralism. I could even drop the words “Jacques Derrida” into an essay, however when I left film school I went straight to unemployment. It was only as I started develping my own documentary ideas that I had to go out and discover how to make documentaries that the BBC might commission. All my teachings as a documentary consultant or film tutor come out of my hard-earned, tried and tested rules that I developed through research and practical experience working as a researcher and later as a producer/director at the BBC.
5 It Might Be Better To Spend Your £23,000 Film School Fee In A Different Way
What if you do as Paul Thomas Anderson did and eschew the film school route? What if instead of studying documentary making at university you instead spent, say, £750 on a short, truly inspiring course and several great documentary consultancy sessions? This can be a far more cost-effective way to learn what you really need to know to make documentaries that audiences want to watch.
As Werner Herzog says: “All you need is $ 10,000 (and guts) to make a feature film.” So with the £22,000 you had left you could go out and make two short and two feature length documentaries.
To see how Col Spector could help you with your film and to read some testimonials from filmmakers who have used his service go to www.thedocumentaryconsultant.com
The post 5 Reasons Not To Study Documentary-Making at Film School or University appeared first on Raindance.
Tread carefully, my friend. Tread carefully.
Question from Josh:
I’ve recently been able to get a hold of the personal email address of one of my favorite screenwriters. I have no intention of trying to sell him an idea or get him to read my script — I just want to buy the guy a beer or a cup of coffee and chat. How would you suggest I approach this?
It helps if you can attach a bottle of virtual scotch to your email, preferably this:
Short of redefining the laws of physics by pulling that off, here is more reasonable advice:
BUT BIG NOTE!!!
If you do have a writer’s personal email address, that could be disquieting to them. Like seriously so. You will almost assuredly have to explain how you got that information. This could be problematic depending upon who you got the email from, so be aware you could be messing with other peoples’ friendships.
But on the whole, most screenwriters I know are interesting and interested people; that is they know a lot and are innately curious. Plus writing is a lonely gig. And bottom line, we’re always looking for an excuse — any excuse — not to work. So write something short, non-threatening, and laudatory, and see how that plays out.
GITS readers, have any of you reached out to industry professionals you didn’t know to ask a few questions? How did you approach contacting them? Any further / better advice for Josh?
Reader question: How may I approach a favorite screenwriter (since I’ve got their personal email)? was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.
Universal and Blumhouse score yet again, this time with Happy Death Day. The horror film easily topped the weekend box office, adding to the production house’s impressive stable of original horror films including the likes of The Visit, Split and Get Out. At the same time, Blade Runner 2049 dropped over 50% in its second weekend, STX’s The Foreigner topped Mojo’s weekend forecast, Open Road’s Marshall delivered on expectations and Annapurna’s Professor Marston and the Wonder Women crashed a…
Box Office Mojo – Top Stories
Michael Mann sat down with Guillermo del Toro and Thierry Frémaux at the Festival Lumière to share insights and his 4K restoration of ‘Heat’.
Michael Mann’s decades long career began in television, where he played a key role in designing the cinematic aesthetic of the crime drama Miami Vice. After that, he directed countless classics, many of them criminally underseen, including Thief, Manhunter (the first Hannibal Lecter movie, despite what you might have been told), The Last of the Mohicans, and his 1995 Robert De Niro-Al Pacino epic heist film, Heat. Guillermo del Toro and Institut Lumiére director Thierry Frémaux led Mann through an expansive conversation, in which the director discussed his long career. Here are three highlights from their talk (which you can watch below, or listen to on SoundCloud.)
By stuffing a GTX 1060 into the new Surface, Microsoft takes aim directly at the Macbook Pro.