Guy Ritchie to Receive Raindance Auteur Award

We’re thrilled to announce that the iconic and critically acclaimed British filmmaker, Guy Ritchie will receive this year’s Raindance Auteur Award.

Having started his career in the British film industry as a runner, Ritchie, who took courses at Raindance in the early 90s, worked his way up the ladder to a director of commercials and videos, before writing and directing his feature film debut, Lock, Stock and Two Smoking Barrels, for a mere £800,000. The film then went on to break British box office records, garnered international cult status, and inspired a new wave of rough, gritty British crime comedies.

With his unforgettable character driven stories, quick-cuts, circulate plots and atmospheric visuals, Ritchie’s style translates across all his films – from gritty crime capers Snatch, Revolver and RocknRolla, through to Hollywood heavyweights including the Sherlock Holmes blockbusters, The Man From U.N.C.L.E. and King Arthur: Legend of the Sword. He will bring his dynamic style to Disney’s live-action, Aladdin, which he will direct and begin shooting later this year.

Ritchie has become a defining voice in recent British film history, and remains a true auteur in today’s film climate.

The award will be presented by Raindance Festival Founder, Elliot Grove, at the Raindance 25th Anniversary Reception on Tuesday 15 August.

 

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The Death of Superman Lives and the Failure of Auteur Theory

I recently watched Jon Schnepp’s detailed documentary The Death of Superman Lives: What Happened. Even if you’re not a fan of comic book movies, this really is a must see documentary if you’re interested in the real process of filmmaking. So here’s the premise. We’re going to give one of DC’s most beloved super heroes to […]

The post The Death of Superman Lives and the Failure of Auteur Theory appeared first on FilmmakerIQ.com.

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‘The Transfiguration’: How Michael O’Shea Went from Cab Driver to Neo-Realist Vampire Horror Auteur

Michael O’Shea submitted his lo-fi vampire movie to Cannes on a whim, and he got in.

Michael O’Shea’s story is every first-time director’s pipe dream. When he didn’t have the resources to shoot his vampire coming-of-age story, O’Shea took to the streets of New York City for a run-and-gun shoot with a skeleton crew. When it came time to submit to festivals, he angled for a genre premiere, targeting Fantastic Fest or Fantasia Film Festival. On a whim, his girlfriend and producer, Susan Leber, suggested O’Shea submit to Cannes, as the deadline was fast approaching. Why not? Months later, the unknown first-time writer-director of The Transfiguration found out his film would screen at Cannes in the famed Un Certain Regard section.

But it wasn’t always so easy. After graduating from SUNY Purchase in the early ’90s, O’Shea spent 10 years struggling to pay the bills with odd jobs as a cab driver, doorman, and computer repairman. It was by sheer will and ingenuity that O’Shea’s micro-budget film, which explores the banality of violence while playing with vampire tropes, came to be.

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